Approaches to Harmony in Selected Works from Gesualdo’s Madrigali e Cinque Voci

Nicholas James Hunter

BMusHons

A thesis submitted for the degree of Master of Philosophy at

The University of Queensland in 2016

School of Music

Abstract

This dissertation investigates Gesualdo’s approaches to harmony in a sample of works from his six books of madrigals: Quanto ha di dolce amore (Book I), In più leggiadro velo (Book

II), Dolce spirto d’Amore (Book III), Io tacerὸ, ma nel silenzio mio (Book IV), Itene, o miei sospiri (Book V), and Moro, lasso, al mio duolo (Book VI). Drawing upon approaches developed by Luca Bruno, John Turci-Escobar, and Stefano La Via, the methodology assesses the relationships between harmonic chromaticism and textual, polyphonic, and harmonic structure in each of the six selected madrigals. The dissertation first identifies and defines the various cadence types employed by Gesualdo, with particular focus on those involving chromaticism. It then demonstrates how cadential techniques such as inter-phrase continuity and expressive phrase-overlapping affect polyphonic and harmonic structure in the madrigals. Finally, there is a detailed analysis of each selected madrigal that involves defining the formal units of polyphonic and textual segmentation, presenting a cadential analysis and a taxonomy of all cadential and non-cadential triads, and examining the most structurally important triadic sonorities and their relationships with the overall tonal centre.

Declaration by author

This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis.

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Acknowledgements

First and foremost I would like to thank my supervisor Denis Collins whose advice, guidance and patience has helped me to complete this project. I would also like to thank my family: my wife, Esther, parents, Anne and Greg, mother-and-father-in-law, Lynne and Garry, and brothers, Chris and Michael, for their constant encouragement and understanding.

Keywords gesualdo, harmony, sixteenth-century, bruno, cadential-analysis, madrigal

Australian and New Zealand Standard Research Classifications (ANZSRC)

ANZSRC code: 190409, Musicology and Ethnomusicology, 100%

Fields of Research (FoR) Classification

FoR code: 1904, Performing Arts and Creative Writing, 100%

Approaches to Harmony in Selected Works from Gesualdo’s Madrigali e Cinque Voci

Contents

Introduction ...... 1 Chapter 1: Cadential Structures in Gesualdo’s Madrigals ...... 14

1.1 Contrapuntal Dyadic Progressions at Cadences ...... 14

1.2 Bernhard Meier’s Analysis of Gallus Dressler’s Cadential Clausulae ...... 17

1.3 Vincenzo Galilei’s “Affective Nature of Cadences” ...... 22

Chapter 2: Techniques of Inter-Phrase Continuity and Defintions of Cadences Types in Gesualdo’s Madrigals ...... 26

2.1 Evaporated Cadences ...... 27

2.2 Interrupted Cadences ...... 31

2.3 Distorted Cadences ...... 32

2.4 Synechdochic Cadences ...... 33

2.5 Expressive Phrase-Overlapping ...... 34

2.6 Passing Notes ...... 35

2.7 Neighbour Notes ...... 35

2.8 Dissonant Suspensions ...... 36

2.9 False Relations ...... 38

2.10 Expressive Phrase-Overlapping with Indirect Chromaticism ...... 39

2.11 Expressive Phrase-Overlapping with Direct Chromaticism ...... 40

2.12 Other Types of Cadential Chromaticism Identified by Turci-Escobar in Gesualdo’s Madrigals ...... 41

2.13 Semitone Flip ...... 42

2.14 Semitone Deflection ...... 43 2.15 Fontanelli’s Phrygian Cadential Variations ...... 46

2.16 “Chromatic (death-) Cadences” ...... 49

Chapter 3: Textual and Polyphonic Segmentation in Gesualdo’s Quanto ha di dolce amore ...... 52

3.1 Formal Units in Quanto ha di dolce amore ...... 52

3.2 A Cadential Analysis of Quanto ha di dolce amore ...... 55

Chapter 4: A Harmonic Analysis of Quanto ha di dolce amore ...... 71

4.1 A Taxonomy of all Cadential and Non-Cadential Triadic Sonorities in Quanto ha di dolce amore ...... 71

4.2 Most Structurally Important Triadic Sonorities in Quanto ha di dolce amore ...... 73

Chapter 5: Analysis of Madrigals from Books II-IV ...... 77

5.1 Analysis of In più leggiadro velo ...... 77

5.1.1 Formal Units in In più leggiadro velo ...... 77

5.1.2 A Cadential Analysis of In più leggiadro velo ...... 79

5.1.3 A Taxonomy of all Cadential and Non-Cadential Triadic Sonorities in In più leggiadro velo...... 85

5.1.4 Most Structurally Important Triadic Sonorities in In più leggiadro velo ...... 86

5.2 Analysis of Dolce spirto d’amore ...... 88

5.2.1 Formal Units in Dolce spirto d’amore ...... 88

5.2.2 A Cadential Analysis of Dolce spirto d’amore ...... 89

5.2.3 A Taxonomy of all Cadential and Non-Cadential Triadic Sonorities in Dolce spirto d’amore ...... 94

5.2.4 Most Structurally Important Triadic Sonorities in Dolce spirto d’amore ...... 95

5.3 Analysis of Io tacerὸ, ma nel silenzio mio ...... 97

5.3.1 Formal Units in Io tacerὸ, ma nel silenzio mio ...... 97

5.3.2 A Cadential Analysis of Io tacerὸ, ma nel silenzio mio ...... 98

5.3.3 A Taxonomy of all Cadential and Non-Cadential Triadic Sonorities in Io tacerὸ, ma nel silenzio mio ...... 103 5.3.4 Most Structurally Important Triadic Sonorities in Io tacerὸ, ma nel silenzio mio .... 104

Chapter 6: Analysis of Madrigals from Books V and VI ...... 106

6.1 Analysis of Itene, o miei sospiri ...... 106

6.1.1 Formal Units in Itene, o miei sospiri ...... 106

6.1.2 A Cadential Analysis of Itene, o miei sospiri ...... 108

6.1.3 A Taxonomy of all Cadential and Non-Cadential Triadic Sonorities in Itene, o miei sospiri ...... 114

6.1.4 Most Structurally Important Triadic Sonorities in Itene, o miei sospiri ...... 115

6.2 Analysis of Moro, lasso, al mio duolo ...... 117

6.2.1 Formal Units in Moro, lasso, al mio duolo ...... 117

6.2.2 A Cadential Analysis of Moro, lasso, al mio duolo ...... 118

6.2.3 A Taxonomy of all Cadential and Non-Cadential Triadic Sonorities in Moro, lasso, al mio duolo ...... 126

6.2.4 Most Structurally Important Triadic Sonorities in Moro, lasso, al mio duolo ...... 127

Conclusion ...... 129

Bibliography ...... 138 Introduction

This dissertation represents a study of late sixteenth-century harmony with a particular focus on Carlo Gesualdo. It involves the analysis of textual, polyphonic and harmonic structure in selected works from each of Gesualdo’s six books of madrigals. The aim of this study is to provide new insights into the development of Gesualdo’s compositional approach to harmony throughout the six books of madrigals. I have chosen to focus in particular on the elements of polyphonic and harmonic structure in Gesualdo’s madrigals as these are essential to an understanding of his compositional approach to harmony. I have also focused on text setting, as it is intrinsically linked to polyphonic and harmonic structure in Gesualdo’s madrigals and vocal music as a whole in the sixteenth century.

The six madrigals that I have chosen to analyse in this dissertation are: Quanto ha di dolce amore (Book I), In più leggiadro velo (Book II), Dolce spirto d’Amore (Book III), Io tacero, ma nel silenzio mio (Book IV), Itene, o miei sospiri (Book V), and Moro, lasso, al mio duolo

(Book VI). 1 Each of these works is representative of the characteristics of Gesualdo’s compositional approach to harmony in each book of madrigals. Gesualdo’s first two books, 1 and 2, are primarily diatonic and involve much less chromaticism and dissonance than is found in the later books. As Gesualdo’s compositional approach to harmony developed across the six books, there were an increasing number of non-diatonic triads used in structurally important positions such as cadences. Non-diatonic triads constructed upon chromatic notes in the lowest sounding voice also become more prevalent in the later books.

1 See Carlo Gesualdo, Quanto ha di dolce amore, Madrigals Book I, ed. Wilhelm Weismann and Glenn E. Watkins (Leipzig: Deutscher Verlag für Musik, 1963) 16-19; In più leggiadro velo, Madrigals Book II, ed. Wilhelm Weismann and Glenn E. Watkins (Leipzig: Deutscher Verlag für Musik, 1963) 27-29; Dolce spirto d’Amore, Madrigals Book III, ed. Wilhelm Weismann and Glenn E. Watkins (Leipzig: Deutscher Verlag für Musik, 1963) 31-34; Io tacero, ma nel silenzio , Madrigals Book IV, ed. Wilhelm Weismann and Glenn E. Watkins (Leipzig: Deutscher Verlag für Musik, 1963) 21-24; Itene, o miei sospiri, Madrigals Book V, ed. Wilhelm Weismann and Glenn E. Watkins (Leipzig: Deutscher Verlag für Musik, 1963) 19-22; Moro, lasso, al mio duolo, Madrigals Book VI, ed. Wilhelm Weismann and Glenn E. Watkins (Leipzig: Deutscher Verlag für Musik, 1963)74-77. 1

Introducing chromaticism directly influences the harmonic structure of each work and often obscures the overall tonal centre.

The work of Luca Bruno has been particularly important as a methodological model for my study of Gesualdo’s approach to harmony. 2 Bruno’s work deals with the analysis of tonal structures in sixteenth-century polyphonic vocal music. I have adapted my methodology from his analysis of ten canzone villanesche alla napolitana by Adrian Willaert (ca. 1490-1562) in the years 1542-1545. Whilst there are significant stylistic differences between the two repertoires, Bruno’s methodology is nevertheless relevant to the study of Gesualdo’s madrigals. This is because much of the analysis is not specific to the villanescas, but instead can be applied to many contrasting examples of sixteenth-century polyphonic vocal music. I discuss my adaptation of Bruno’s methodology in detail below but first I address the works of other important musicologists Carl Dahlhaus, Bonnie J. Blackburn, Jessie Ann Owens,

Margaret Bent, and Bernhard Meier, who along with Bruno have provided essential insight into harmony in both the fifteenth and sixteenth centuries. 3 These musicologists have significantly influenced modern conceptions surrounding fifteenth- and sixteenth-century harmony and their works have created a foundation from which many of the more recent studies have arisen. Through their reference to fifteenth- and sixteenth-century theoretical

2 See Luca Bruno, “A Methodological Approach Toward the Harmony of Sixteenth-Century Secular Polyphony.” Methodology of Music Research . Ed. Denis Collins. (New York: PL Academic Research, 2013) 33-98. Also see, Bruno, “Toward a Theory of Harmony in the Renaissance: Historical-Analytical Inquiry into Harmonically-Orientated Genres of Sixteenth-Century Secular Polyphony.” Histories and Narratives of Music Analysis . Ed. Miloš Zatkalik, Milena Medić, and Denis Collins. (Cambridge: Cambridge Scholars Publishing, 2013) 51-72. 3 See Carl Dahlhaus, Studies on the Origin of Harmonic Tonality . Trans. Robert O. Gjerdingen. (Princeton: Princeton University, 1990); Bonnie J. Blackburn, “The Dispute About Harmony c.1500 and the Creation of a New Style” Music Theory and Analysis 1450-1650. Proceedings of the International Conference Louvain-la- Neuve 23-25 September 1999. Ed. Anne-Emmanuelle Ceulemans and Bonnie Blackburn. (Catholic University of Louvain: Department of Art History and Archaeology, 2001) 1-37; also, “On Compositional Process in the Fifteenth Century” Composition, Printing, and Performance: Studies in Renaissance Music . (London: Ashgate, 2000); Jessie Ann Owens, Composer’s at Work: The Craft of Musical Composition 1450-1600 . (New York: Oxford University Press, 1997); Margaret Bent, “The Grammar of Early Music: Preconditions for Analysis.” Tonal Structures in Early Music . Ed. Cristle Collins Judd. (New York: Garland Publishing, 2000) 15- 61; also, Counterpoint, Composition, and Music Ficta . (New York: Routledge Publishing, 2002); and Bernhard Meier, The Modes of Classical Polyphony . Trans. Ellen S. Beebe. (New York: Broude Brothers Limited, 1988) 91. 2 treatises as well as musical compositions, these musicologists have been able to identify the systems and structures which were associated with harmony in this period, and which distinguish it from later tonality.

Dahlhaus identified that harmony in the fifteenth and sixteenth centuries was based upon a discant-tenor or discant-bassus two-voice framework. 4 He noted that the intervallic progression of an imperfect to a perfect consonance at cadence points was an important structural element in harmony of this period. Bent’s work also deals with this two-voice framework at cadences in fifteenth- and sixteenth-century music. She has noted that whilst the contrapuntal dyad, or two-voice framework, was most commonly found between Tenor and Cantus, it could also occur in other voices such as Bassus and Tenor, or Bassus and

Cantus. The intervallic progression, however, from an imperfect to perfect consonance remained constant. Bent also observed that the contrapuntal dyad had an influence on the remaining voices at cadences. These voices were added at consonant intervals with the dyadic voices in order to form complete triads. As well as dyadic progressions, there were also specific melodic formulae that occurred at cadence points. These melodic formulae are discussed in Meier’s work, which draws upon the writings of sixteenth-century theorist

Gallus Dressler (1533- c.a. 1580). Meier referred to the melodic formulae as clausulae , and I discuss each specific example in detail in Chapter 1 below with specific examples from

Gesualdo’s madrigals.

Both Blackburn and Owens address vertical harmonic conception in their works, with a particular focus on the fifteenth-century theorist Pietro Aaron (c.a 1480-1545). Especially in his treatise, Thoscanello in musica , Aaron was particularly informative about vertical harmonic conception in the fifteenth and sixteenth centuries. Owens noted that his method for constructing harmonic sonorities was reproduced in “virtually every counterpoint treatise

4 Dahlhaus, Studies on the Origin of Harmonic Tonality , 95-98. 3 from the end of the fifteenth century throughout the entire sixteenth century – in the Italian as well as the German tradition.” 5 Aaron’s method of constructing harmonic sonorities was designed in order to have appropriate spacing for each voice. Owens writes that “Aaron was concerned with the division of musical space into distinct realms in which each voice had its own place, a practice that was still relatively recent when he was writing.” 6 His method consisted of ten rules, one for each interval between Cantus and Tenor. 7 These rules described at which intervals the Bassus and Altus would be composed, depending on the interval occurring between Cantus and Tenor. Owens gives an example that states, “When the tenor is at the unison with the cantus, place your contrabassus a fifth below the tenor, and your altus a third, or an octave and (if it pleases you) a tenth above the bassus, according to what seems most appropriate.” 8 Aaron also provided a table of consonances and this table demonstrated, through roman numerals, the possible intervals which could be given for

Bassus and Altus depending on the interval between Tenor and Cantus. 9

Blackburn observed that no instructions on voice-leading or two part contrapuntal writing were included in Aaron’s method for constructing vertical harmonic sonorities. She believes that this was because Aaron assumed that the composer who made use of his table of consonances would be able to follow contrapuntal rules in order to convert the vertical sonorities into harmonic progressions. 10 The quality of intervals (i.e., major or minor third, or perfect fifth or octave) was also not specified. This is because, like voice-leading within two- part counterpoint, Aaron assumed that the composer would be able to avoid parallel perfect

5 Owens, Composer’s at Work , 24. 6 Owens, Composer’s at Work , 24. 7 Owens, Composer’s at Work , 24. 8 Example from Aaron, Thoscanello , sig.I iv. Quoted in Owens, Composer’s at Work , 24. 9 See Plate 2.2 for the reproduction of Aaron’s table of consonances in Owens, Composer’s at Work , 25. 10 Blackburn, “The Dispute About Harmony,” 4. 4 intervals as well as mi contra fa in perfect intervals. 11 Blackburn considered that tables of consonances would not have been of much practical use to professional composers and instead they seem aimed at “rank beginners”. 12 One of the key problems, she writes, is that in choosing vertical sonorities or chords from a table there is likely to be errors in the contrapuntal construction. 13 It is possible and indeed likely, however, that composers were able to construct sonorities from a table of consonances whilst at the same time considering the counterpoint which would adjoin them in cadences and other harmonic progressions.

Regardless, what Aaron’s table demonstrates is a conscious consideration of the intervallic construction of vertical harmonic sonorities for three or more voices, conceived of aside from the precepts of counterpoint.

As well as the works of Dahlhaus, Bent, Blackburn, Owens and Meier discussed above, more recent works from John Turci-Escobar and Stefano La Via have also been particularly influential on my study of Gesualdo. 14 Specifically, their work has been valuable in identifying and defining more unusual cadence types in Gesualdo’s madrigals. La Via does not deal with Gesualdo directly but instead focuses on the madrigals of his contemporary at the Ferrara Court, Alfonso Fontanelli (1557-1622). La Via draws comparisons, however, between Fontanelli and Gesualdo and provides examples of specific cadence types which are present in both composers works. Turci-Escobar describes the expressive function of

Gesualdo’s chromaticism in relation to text-setting in his six books of madrigals. He also analyses chromaticism employed by Gesualdo at cadences in order to achieve phrase-overlap

11 Blackburn, “The Dispute About Harmony,” 4. By mi contra fa , I refer to the tritone interval of B to F which was prohibited in two part contrapuntal writing. In order to avoid this tritone, either the B was required to be lowered by semitone to B-flat, or the F raised by semitone to F-sharp. 12 Blackburn, “The Dispute About Harmony,” 7. 13 Blackburn, “The Dispute About Harmony,” 7. 14 See John Turci-Escobar, “Keeping Up With the Words: Expressive Phrase Overlapping in the Late Italian Madrigal.” Music Analysis 30 (2011): 152-185; “Softening the Edges: Cadential Attenuation in Gesualdo’s Six Books of Madrigals.” Theory and Practice 32 (2007): 101-125; “Carlo Gesualdo’s Harsh and Bitter Music: Expressive and Constructive Devices in the Six Books of Five-Voice Madrigals.” PhD Thesis. Yale University, 2004; and Stefano La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica.” The Journal of Musicology , 30 (2013): 49-102. 5 and cadential attenuation. Turci-Escobar believes this use of chromaticism for cadential attenuation is an important element of Gesualdo’s madrigals which is necessary for structural cohesion in each work.

I will now return to Bruno and his work. In my adaptation of Bruno’s methodology I first determine the formal units of textual and polyphonic segmentation in each madrigal. Textual segmentation involves the division of the text as a whole into smaller segments, such as individual lines. Similarly, polyphonic segmentation involves the division of the entire musical composition into smaller polyphonic segments each of which have a corresponding textual segment. Polyphonic and textual segments are referred to as formal units in Bruno’s methodology, and they are considered structural as they are organised by the composer in the creation of the compositional form. 15 The polyphonic phrase is the smallest formal unit which occurs in Gesualdo’s madrigals. 16 Bruno notes that polyphonic phrases most often correspond with a single line of text. In Gesualdo’s madrigals, polyphonic phrases commonly set seven-syllable lines rather than eleven-syllable lines as found in Willaert’s villanescas.

This is because Gesualdo favours much shorter texts in his madrigals than those found in the villanescas and whilst eleven-syllable lines do occur, they are much less frequent. There are some specific cases where I have analysed polyphonic phrases as corresponding with fragments of a line of text, or with combinations of a line with its immediate repetition. The fragmentation of a line of text more commonly corresponds to a polyphonic semi-phrase, and the combination of a line of text with its immediate repetition corresponds to a larger formal unit, the polyphonic repeated period. My analytical reading of specific cases of larger formal units, such as the polyphonic repeated period, as polyphonic phrases represents an exception

15 Bruno, “A Methodological Approach,” 46. 16 A smaller formal unit, the polyphonic semi-phrase is discussed by Bruno in his work and it involves the fragmentation of a single line of text into smaller segments of words and phrases. Semi-phrases most often take place at an internal line-caesura in the villanescas , and these line-caesurae occur whenever there is a complete pause in a line of text. 6 to the rule. These exceptions are discussed in detail in Chapters 3-5 with regard to the madrigals in which they are found.

Larger formal units such as the polyphonic period and polyphonic section consist of combinations of polyphonic phrases. There are two types of polyphonic period identified by

Bruno: the repeated period and the double period. As mentioned above, repeated periods involve the combination of one line of text with an immediate repetition of the same line.

Double periods on the other hand involve the repetition of an entire group of lines. For example, in a double period, the first four lines of text, which could be labelled A, B, C, D, are repeated in order immediately after line D concludes. Slight alterations in the repetition of lines can occur in the double period, e.g. ABCD repeated as ABCDD. I would refer to this example as a double period as the first four lines of text are repeated, even though it also includes a repeated period with line D in ABCDD. Both the repeated and the double period are used extensively in Gesualdo’s madrigals. Polyphonic sections are the largest formal units analysed by Bruno and in his chosen repertory of the villanescas they coincide with the division between the strophes and a refrain. In Gesualdo’s madrigals there are no examples of texts with strophes or a refrain, so I instead analyse polyphonic sections occurring after repeated periods. For example, in my first chosen madrigal, Quanto ha di dolce amore , there is a repeated period with lines ABCD before the following lines EFG are sung. Therefore, I analyse the first polyphonic section as containing lines ABCD along with their repetition, and the second polyphonic section, comprising lines EFG.

In order to determine the formal units in a composition Bruno notes that “the features of textual segmentation that emphasise polyphonic segmentation, [or] in other words . . . the cadences that count in segmenting the polyphonic complex, and [their relationship] to textual

7 segmentation” must first be identified. 17 Bruno’s approach to polyphonic segmentation draws from the methodology of musicologist Marco Mangani who states that:

Cadential study is a complement of the segmentation of the polyphonic complex,

helping to determine from which intervallic motions the cadences are activated and

how they relate to the segmentation of the poetic text. The study of cadential motion,

especially the intervallic progressions at cadence points, determines a second and

successive level of segmentation of the polyphonic complex. The first level of

segmentation of the musical fabric (“testo musicale”), instead, is necessary as a

prerequisite but not sufficient to determine the significant segments without the

interaction with the second level (the cadential study). 18

In order to determine the first level of the “segmentation of the musical fabric,” or polyphonic segmentation, Bruno gives four criteria of interaction between music and text. The first involves the simultaneity of text-setting amongst the voices and is a preliminary condition for the remaining three criteria. 19 Simultaneity of text-setting can be determined in three ways: when all voices pronounce the last syllable of a word at the same moment; when a number of voices articulate the syllable whilst another voice sustains the same syllable; or, when a number of voices pronounce a syllable previously articulated by now inactive voices immediately before their rests. 20 Once this preliminary condition of simultaneity of text- setting has been identified, Bruno then addresses the three remaining criteria for determining polyphonic segmentation.

17 Bruno, “A Methodological Approach,” 47. 18 See Mangani ,“Proposta d’un metodo di segmentazione per l’analisi delle forme vocali minori tra Cinque e Seicento.” Ed. Egidio Pozzi. Quaderni di Analitica 2/1: 99-135. Quoted in Bruno, “A methodological approach,” 47. 19 Bruno, “A Methodological Approach,” 47. 20 Bruno, “A Methodological Approach,” 47.

8

The first of these critera is that simultaneity of text-setting must occur in all voices at the end of a segment of text such as an internal line-caesura, but it can also occur in as few as two voices at the end of a line of text. This latter point arises because the textual and polyphonic segmentation which occurs at the end of a line of text is already considered more structurally important than the segmentation which may occur at an internal line-caesura. One reason for this is that structurally important cadences are more likely to occur at the end of a line of text rather than at an internal line-caesura. In Gesualdo’s madrigals in particular there are very few examples of internal line-caesura and the majority of cadences take place at the end of textual lines.

The second criterion for determining polyphonic segmentation involves the duration of adjacent syllables which belong to one word pronounced at the end of a segment of text.

Bruno writes that “the duration of adjacent syllables belonging to the same word, presented at the end of a textual unit in which the last syllable features simultaneity in all voices, must be sufficiently long to determine segmentation.” 21 He notes that the duration must be more than half a bar in duple meter, or equal or longer than a bar in triple meter and must be counted from the last accented syllable if the word is parossitona or proparossitona , or from the penultimate syllable if the word is truncated. Bruno notes that the Italian term parossitona , distinguishes words that involve accentuation on their penultimate syllable, while proparossitona involves accentuation of the syllable immediately before the penultimate syllable. 22 If the word is monosyllabic, then the unaccented syllable immediately before this word is counted towards the duration. 23 Ex. 1 below demonstrates segmentation with the word amore . Amore is a parossitona word because it involves accentuation on the penultimate syllable, mo . The duration of this syllable is more than half a bar in both the

21 Bruno, “A Methodological Approach,” 48. 22 Bruno, “A Methodological Approach,” 48. 23 Bruno, “A Methodological Approach,” 48. 9

Tenor and Altus, as well as exactly half a bar in the Bassus. This follows the criterion that more than half a bar in duple meter, or equal or longer than one bar in triple meter, must be counted from the last accented syllable if the word is parossitona . Through the technique of sinalefe , Gesualdo is able to elide the syllables ce from dolce and a from amore and therefore only the syllable mo is pronounced by the Altus, Tenor and Bassus. Bruno notes that sinalefe ,

“is the metrical occurrence in which two syllables in adjacent words connected by vocalic sounds count as only one metrical position.” 24

Ex. 1: Carlo Gesualdo, “Quanto ha di dolce amore,” Madrigals Book I , bars 1-3. 25

For the third criterion, Bruno notes that polyphonic segmentation is determined if the last syllable of a word simultaneously performed by all voices is followed by rests in these voices. This criterion is the most easily observed of the three criteria due to the aural perception of segmentation that occurs when all voices rest simultaneously. Bruno’s three criteria for determining polyphonic segmentation are particularly useful when applied to my analysis of formal units in Gesualdo’s madrigals. This is because Gesualdo often obscures polyphonic segmentation through the use of phrase-overlap, which sometimes makes it difficult to determine where formal units such as the polyphonic phrase begin and end.

Bruno’s first criterion notes that simultaneity of text-setting need only occur in two or more

24 Bruno, “A Methodological Approach,” 43. 25 Gesualdo, Quanto ha di dolce amore, Madrigals Book I, 16. 10 voices at the end of a textual line. This means that even when phrase-overlap takes place between two lines of text, polyphonic segmentation can still be determined by reference to two voices.

After determining the formal units of textual and polyphonic segmentation in a madrigal, I then expand my harmonic analysis from cadential structures to involve all triadic sonorities present in the composition. This is achieved through a taxonomy of cadential and non- cadential triads. My approach to this taxonomy is adapted from the third and fourth stages of

Bruno’s methodology, and it provides a comprehensive examination of all harmonic sonorities present in each madrigal composition. 26 Like Bruno, I limit my taxonomy to complete triadic sonorities in order to avoid the potential tonal ambiguity of other vertical structures such as dyads. 27 Some exceptions to this occur; however these are discussed in detail in Chapters 4 and 5 in the analyses of specific madrigals. I also make use of chordal scale degrees in this stage of my methodology in order to analyse relationships between the triadic sonorities in each polyphonic phrase. Chordal scale degrees are an analytical construct used to determine the harmonic relationship of vertical sonorities with a scalar tonal-centre.

Whilst they are normally employed in the analysis of tonal harmony, Bruno also makes use of them in his analysis of the villanescas. In tonal harmony, chordal scale degrees analyse the root notes of chords in relation to the overall key centre in order to determine harmonic function. Whilst there is no conception of root notes in Gesualdo’s madrigals, vertical sonorities are still formed with consonances above the Bassus or next lowest sounding voice.

Chordal scale-degree numbers are determined by the position of the vertical sonority in the scale which represents the overall tonal centre. A vertical sonority built on the note G in the key of C-per-bequadro , (which has the corresponding scale C D E F G A B C), would be considered to be constructed on scale-degree 5, as G is the fifth note in the scale.

26 See Bruno, “A Methodological Approach,” 59. 27 Bruno, “A Methodological Approach,” 61. 11

The final stage of my methodology, adapted from Bruno’s fifth, sixth and seventh stages, determines the most structurally significant triadic sonorities in each of the madrigals. 28 In his chosen repertory of the villanescas Bruno considers as most structural “those harmonies that are emphasized through textual accentuation and/or segmentation, as well as those emphasized through repetition and other musical parameters . . . such as rests.” 29 Unlike the homophonic villanescas, the accentuation of the text in Gesualdo’s madrigals is often distorted by imitative polyphonic textures involving the staggered entry of voices. When these textures occur, rhythmically accented syllables do not take place simultaneously amongst all voices, but instead are found in different metric positions in the bar. This makes it more difficult to determine from the rhythmic accentuation of the text alone where the significant structural harmonic sonorities occur. Other elements of polyphonic segmentation such as rests as well as the duration of the harmonic sonority must also be considered in order to determine the most structurally significant triads in these passages. Bruno observes that the rhythmic duration of a sonority is important in determining its structural significance, particularly if it is “prolonged through repetition and/or change in melodic position.” 30

Determining the most structural triadic sonorities in a composition is crucial to understanding the overall harmonic structure and it is also important in determining the overall tonal centre of a composition. If there is a prevalence of structural triadic sonorities on chordal scale degrees 1, 3 and 5 in a particular tonal centre, then this, along with other elements such as the key signature, helps to identify it. In order to avoid parallels with common-practice harmony,

I make use of the terminology per-molle and per-quadro when referring to tonal centres in the madrigals. These can be translated as signatures “with flat” for per-molle and “with nothing” or “with no accidentals” for per-quadro . Bruno also makes use of this terminology

28 See Bruno, “A Methodological Approach,” 63-70. 29 Bruno, “A Methodological Approach,” 65. 30 Bruno, “A Methodological Approach,” 65. 12 in his work and derives it from the writings of sixteenth-century theorist Orazio Vecchi

(c.a.1550-1605). 31

The following chapter deals with cadential structures in Gesualdo’s madrigals with particular focus on the use of dyads and cadential clausulae . This is in order to establish the terminology I make use of in further cadential analysis of Gesualdo’s madrigals. I also discuss Gesualdo’s contrasting use of cadences in relation to text-setting, which directly correlates with both the textual and harmonic structure of his madrigals.

31 See Orazio Vecchi, 1630. Mostra delli tuoni della musica. Trattato in edito di Orazio Vecchi . Ed. Mariarosa Pollastri. (Modena: Aedes muratoriana, 1987). Discussed in Bruno, “A methodological approach,” 38. 13

Chapter 1

Cadential Structures in Gesualdo’s Madrigals

1.1 Contrapuntal Dyadic Progressions at Cadences

The use of a structural contrapuntal dyad at cadence points was important to Gesualdo’s harmonic writing and also to the broader conception of harmony in the fifteenth and sixteenth centuries. Treatises from this period most often began with instruction in two-part writing before dealing with three or more voices. 32 In two-part writing, composers observed strict rules which included avoiding vertical dissonances such as the second, seventh and fourth, and avoiding parallel perfect intervals of fifths and octaves. At cadence points, the voices were required to move by contrary motion from an imperfect consonance of a third or sixth.

One voice moved by semitone and the other by tone to form a perfect consonance. 33

If a diatonic semitone did not occur then musica ficta could be introduced to adjust one of the tones to a semitone. Anne Smith describes musica ficta in this instance as a “feigned tone” that was used to create a major- sixth by introducing a chromatic semitone where a diatonic semitone did not occur. 34 Whilst musica ficta most often refers to un-notated accidentals such as sharps, flats, or naturals, introduced by the performer, in Gesualdo’s madrigals accidentals are always included in the score. For this reason I use the term introduced chromatic semitones rather than musica ficta to describe non-diatonic semitones which occur at cadences.

32 Owens provides many examples in Composers at Work, 15. She discusses contributions by Italian and German theorists: Gallus Dressler, Venceslaus Philomathes, Gioseffo Zarlino, Nicolaus Burtius, Pietro Aaron, Johannes Gallicus, Auctor Lampadius, Melchior Schanppecher, Hans Buchner and Johannes Lippius. 33 For more on the rules and methods of teaching counterpoint, see: Peter Schubert, “Counterpoint Pedagogy in the Renaissance,” The Cambridge History of Western Music Theory, ed. Thomas Christensen (Cambridge: Cambridge University Press, 2002) 503-533; and Bent, “The Grammar of Early Music”: 15-61 . 34 Anne Smith, Performance of Sixteenth-Century Music: Learning from the Theorists (New York: Oxford University Press, 2011) 75. Also on the topic of musica ficta and the various examples of its use see Bent, Counterpoint, Composition, and Musica Ficta ; and Karol Berger, Musica Ficta: theories of accidental inflections in vocal polyphony from Marchetto Padova to Gioseffo Zarlino (New York: Cambridge University Press, 1987). 14

Gesualdo made use of a contrapuntal dyad at cadence points throughout his six books of madrigals. These occur both in the Cantus and Tenor as well as in other pairs of voices as shown in the following two examples. In Example 1.1, from Book 2, a major sixth between the Cantus and Tenor resolves outwards by contrary motion to an octave by tone and semitone. The Cantus resolves by semitone from C-sharp – D, and the Tenor by tone from E

– D. A raised third above the Bassus also occurs at the final harmony of the cadence. This is found in the Altus as F-sharp. Turci-Escobar observes that incorporating the major third at the final sonority of a cadence, in particular the final cadence of a composition, was introduced in the early sixteenth century and was encouraged by theorists such as Gioseffo

Zarlino. 35 When the major-third did not occur diatonically, chromatic semitones were introduced. 36 The cadence in Ex. 1.1 demonstrates the typical use of a contrapuntal dyad in

Gesualdo’s harmonic writing and, indeed, elsewhere in music of the fifteenth and sixteenth centuries.

Ex. 1.1. Carlo Gesualdo, “In più leggiadro velo,” Madrigals Book II, bar: 10. 37

35 Turci-Escobar, “Softening the Edges,” 105. 36 Turci-Escobar, “Softening the Edges,” 105. 37 Gesualdo, In più leggiadro velo , Madrigals Book II, 27. 15

Another example can be found in the final cadence of one of Gesualdo’s most chromatic madrigals, Moro lasso al mio duolo (Book 6). In Ex. 1.2 the contrapuntal dyad occurs between the Quintus and Tenor. The Tenor note B descends by tone to A, and in the Quintus, the G-sharp, preceded by a suspension on the note A, returns by ascending semitone to A.

Elements of chromaticism occur aside from the contrapuntal dyad and these include the ascending semitone from E-flat to E in the Bassus, the descending B-flat to A in the Quintus, and the ascending D-sharp to E. Similar to Ex. 1.1 above, the raised third, this time C-sharp in the Cantus, is included above the Bassus in the final harmonic sonority of the cadence.

Ex. 1.2. Carlo Gesualdo, “Moro lasso al mio duolo,” Madrigals Book VI, bars 41-42. 38

Conventionally, the contrapuntal dyad was contained in the Tenor and Cantus, but it was not limited to these voices and could also occur in other voice pairs. As demonstrated in Ex. 1.2, one such voice-pair is the Quintus and Tenor, but others include Bassus and Altus, Bassus and Tenor, or Cantus and Bassus. The contrapuntal dyad also did not always have to remain in two particular voices for the entirety of a composition and could change from one pair of voices to another pair. Julie E. Cumming notes that there is evidence that a contrapuntal dyad may change voices when there are “rests in one or more parts resulting in a duet where the

38 Gesualdo, Moro, lasso, al mio duolo , Madrigals Book VI, 77. 16 voices are not the superius and tenor.” 39 She also observes instances of where the contrapuntal dyad has changed voices when the intervallic progression of an imperfect to a perfect consonance, such as the major sixth to an octave, occurs in different voices at various cadences throughout the composition. Both of these examples are particularly prominent in compositions, including Gesualdo’s madrigals, in which smaller groups of voices such as duos and trios occur as well as the full five–voice texture.

1.2 Bernhard Meier’s Cadential Clausulae

Meier’s cadential clausulae describe the melodic progressions that take place in each individual voice at cadences. Clausula cantizans involves the melodic progression of an ascending semitone and clausula tenorizans , a descending tone. The term clausula formales is used when describing a clausula cantizans preceded by a suspension. In Ex. 1.2 above, the clausula formales takes place in the Quintus with the melodic progression A – G-sharp – A.

The suspension is formed against the Tenor voice with a minor-seventh descending to a major sixth and then progressing by contrary motion to an octave. 40 The last of the cadential clausulae , clausula basizans involves the melodic progression of an ascending perfect fourth or descending perfect fifth. This is most commonly found in the Bassus and was used along with the clausula cantizans and clausula tenorizans to form an “Authentic” cadence. 41 This cadence type was frequently used as the final cadence of a composition or in important syntactical positions due to its significant sense of resolution. 42

39 See Julie E. Cumming, “From Two-Part Framework to Movable Module,” Medieval Music in Practice, Studies in Honor of Richard Crocker , ed. Judith A. Peraino (Middleton: American Institute of Musicology, 2013) 187. Cumming makes use of the term Superius rather than Cantus in order to describe the upper-voice in the conventional Tenor-Cantus contrapuntal dyad. 40 Gesualdo, Moro, lasso, al mio duolo, Madrigals Book VI, 74. 41 I make use of La Via’s terminology for this cadence type here and in the remainder of my thesis. It is in turn adapted from the terminology of sixteenth-century theorist, Vincenzo Galilei. See, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 51. 42 Meier, The Modes of Classical Polyphony , 93. 17

Gesualdo often made a slight alteration to the Authentic cadence model in his madrigals as shown in Ex. 1.3, from Book 5. Here the clausula basizans and the clausula formales take place in the Bassus and Quintus respectively. In the Bassus, there is an ascending perfect fourth from D to G, and in the Quintus a suspension is formed against the Tenor voice with a minor seventh resolving to a major sixth. The clausula tenorizans does not take place, however, and instead the Tenor ascends from A to B-natural, rather than descending as expected to G. This is likely in order to include the raised third above the Bassus at the final harmony of the cadence.

Ex. 1.3. Carlo Gesualdo, “Itene o miei sospiri,” Madrigals Book V, bars 42-43. 43

This particular alteration to the Authentic cadence is quite common across Gesualdo’s books of madrigals, but the voices in which the clausulae take place vary. In Ex. 1.4 below, the position of the voices involving the clausula formales and the clausula tenorizans are inverted, with the clausula formales written a tone below the clausula tenorizans . This would normally result in the intervallic progression from a minor third to a unison, rather than from a major sixth to an octave. The clausula formales takes place in the Altus but the expected clausula tenorizans , in the Quintus, does not occur and instead there is an ascent by tone, A to B-natural, which forms a major third between the Quintus and Altus. Like Ex. 1.3, this

43 Gesualdo, Itene, o miei sospiri, Madrigals Book V, 19. 18 ascent is in order to include the raised third above the Bassus at the final harmony of the cadence.

Ex. 1.4. Carlo Gesualdo, “In piu leggiadro velo,” Madrigals Book II, bars 37-38. 44

It was also quite common for the clausula tenorizans to be used in the Bassus or lowest sounding voice of a composition. From the sixteenth-century onwards, this occurred primarily at interior cadences, however, and not at the final cadence of a composition. Meier observes that from 1500 the Authentic cadence with the clausula basizans in the lowest voice was “almost the only type used for the final cadence of a whole work.” 45 When the clausula tenorizans melodic progression took place in the lowest voice of a composition for three or more voices, then two different types of conventional cadences could occur. The first of these described by Meier is the “Semiperfect” cadence. 46

The Semiperfect cadence is frequently used by Gesualdo in the internal cadences of his madrigals. In this cadence type, the intervallic progression from an imperfect to a perfect consonance most often takes place in the outer voices, with the clausula tenorizans in the lowest voice and the clausula cantizans or clausula formales in the highest voice. The

Semiperfect cadence type is demonstrated in Ex. 1.5, from Gesualdo’s first book of madrigals. The clausula tenorizans is in the Tenor and descends a tone from D to C. At the

44 Gesualdo, In piu leggiadro velo , Madrigals Book II, 27. 45 Meier, The Modes of Classical Polyphony , 93. 46 Meier, The Modes of Classical Polyphony , 94. 19 same time the clausula formales takes place in the Quintus forming a suspension with the clausula tenorizans , a dissonant minor seventh interval descending to a major sixth and then outwards by contrary motion to an octave.

Ex. 1.5. Carlo Gesualdo, “Quanto ha di dolce amore,” Madrigals Book I, bar 24. 47

A second type of cadence that has the clausula tenorizans in the lowest voice is the Phrygian cadence. This cadence, like the Semiperfect cadence, was also used extensively by Gesualdo at internal cadences in his madrigals and is shown in Ex. 1.6, from Book 1. The Phrygian cadence differs from both the Authentic and Semiperfect cadence types because the clausula cantizans does not ascend by semitone (otherwise a dissonant augmented sixth interval would occur between the clausula cantizans and the clausula tenorizans ). Instead the clausula cantizans ascends by tone and the clausula tenorizans descends by semitone, affectively reversing the function of the contrapuntal dyad from the Authentic cadence. In Ex. 1.6 below, the clausula tenorizans is in the Bassus and descends by semitone from B-flat to A. The clausula cantizans ascends at the same time from G to A, forming a major sixth moving by contrary motion outwards to an octave.

47 Gesualdo, Quanto ha di dolce amore, Madrigals Book I, 17.

20

Ex. 1.6: Carlo Gesualdo, “Mentre madonna,” Madrigals Book I, bar 12. 48

Although it was conventional for Authentic cadences to be used at the final cadence of a composition, Gesualdo does make use of both Semiperfect and Phrygian cadences at final cadences in a number of his madrigals. He also uses Imperfect cadences, as well as unusual cadential models which have not yet been discussed but will be dealt with in Chapter 2. The clausula basizans in the Imperfect cadence involves an ascent by perfect fifth or descent by perfect fourth. This is the opposite of a clausula basizans in the Authentic cadence which descends by perfect fifth or ascends by perfect fourth. The clausula tenorizans and clausula cantizans in an Imperfect cadence most often ascend by tone, and descend by semitone respectively. This is also the reverse of their usual melodic progressions in an Authentic

Cadence. An example of an Imperfect cadence is demonstrated below in Ex. 1.7, from Book

1 of Gesualdo’s madrigals. In this example, the Cantus descends by tone rather than by semitone, from E to D, and the Tenor ascends by tone from C to D. The dyadic progression from an imperfect to a perfect consonance by contrary motion still takes place, however, with an imperfect tenth progressing to a perfect octave.

48 Gesualdo, Mentre madonna, Madrigals Book I, 31.

21

Ex. 1.7: Carlo Gesualdo, “Ahi, troppo saggia nell’errar,” Madrigals Book I, bar 26. 49

Ex. 1.7 represents the only final cadence from Gesualdo’s first book of madrigals that is not an Authentic cadence. Book II, however, contains three madrigals that do not finish with an

Authentic cadence. Book III contains eight, and Book IV contains eleven, the most of any, despite the increased use of dissonance and chromaticism in the final books V and VI. In most cases, Gesualdo’s use of Semiperfect, Phrygian, Imperfect, or more unusual cadential models at final cadences represent a decision to deliberately evade the sense of resolution brought about by an Authentic cadence and this is most often for text-expressive purposes.

1.3 Vincenzo Galilei’s “Affective Nature of Cadences”

Gesualdo’s text-expressive use of cadences, especially final cadences is in most cases consistent with the ideas of sixteenth-century theorist Vincenzo Galilei, a figure often associated with the seconda pratica . Galilei’s concept of the “natura delle affezioni delle cadenze” (affective nature of cadences) is described in the work of La Via. 50 According to La

Via, Galilei believed that each of the cadence types, Semiperfect, Phrygian, Authentic, and

Imperfect had emotional as well as syntactical qualities. 51 The emotional qualities of individual cadences were often paired with a similar emotion expressed in the text and

49 Gesualdo, Ahi, troppo saggia nell’errar , Madrigals Book I, 34. 50 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 52. 51 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 52. 22 therefore the choice of cadence was intrinsically linked to text-setting. La Via notes that using the expressive nature of cadences to portray the emotional qualities of the text was first utilised by the early sixteenth-century madrigalist, Cipriano de Rore (ca.1515-1565) but was then applied by later sixteenth-century Italian madrigalists such as Gesualdo, Alfonso

Fontanelli, and Claudio Marenzio. 52

Galilei associates the Phrygian cadence, Imperfect cadence and Semiperfect cadences with negative emotional qualities, such as “soft/weak/loose” for the Phrygian, “sadness, suffering, unhappiness” for the Imperfect, and “disdainful, irritable, harsh”, for the Semiperfect cadence. 53 In particular, he associates descending melodic intervals, such as the semitone in the Phrygian cadence, along with dissonances, such as the dissonant minor seventh, created in the Semiperfect cadence with the negative emotional qualities. The Authentic cadence, with its ascending clausula basizans and clausula cantizans is the only cadence that Galilei believes can be associated with positive emotional qualities such as “happy, pleasant” or

“manly, virile”. 54 Galilei’s specifications for the Authentic cadence are consistent with its use primarily in strong syntactic positions, such as the final cadence of a composition.55

La Via observes that:

Locally [the authentic cadence] expresses good fortune, happiness, positive

invocations, gestures of love (even when the beloved lady is recognised as the main

cause of the harshest pain), virile feelings of passion, and even anger. If associated

with less positive concepts it resolves – only at the very end – pathetic and feeble or

52 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 59. 53 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 52. 54 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 52. 55 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 52. 23

chromatic and dissonant cadential gestures, further complicating, instead of clarifying,

the elusive tonal trend of the whole section. 56

In many cases Gesualdo’s use of the Authentic cadence is associated with positive emotions in the text. This is consistent with the thoughts of Galilei and also with the findings of La Via.

When the Authentic cadence was used to portray negative emotions in the text this was mostly a result of using the cadence type in a strong syntactical position, particularly at the final cadence of a composition. In this case, the structural syntactical use of the cadence was more important than the expression of the text. The syntactic and expressive use of the

Authentic cadence is demonstrated in Ex. 1.8, from Book 5 of Gesualdo’s Madrigals. In this example the Authentic cadence is used in a strong syntactic position, as the final cadence of the madrigal, and expresses the positive emotion of the text in voi diletto pace , (you delight in peace).

Ex. 1.8. Carlo Gesualdo, “Se vi duol il mio duolo,” Madrigal Book V, bars 74-77. 57

In contrast, the Phrygian cadence, shown in Ex. 1.9 below, from Book 2, is used in a weaker syntactical position, as an internal cadence, and expresses the negative sentiments of the text,

“langue,” (to languish).

56 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 72. 57 Gesualdo, Se vi duol il mio duolo , Madrigals Book V, 37. 24

Ex. 1.9. Carlo Gesualdo, “Che sentir deve il petto mio che langue,” Madrigals Book II, bar

3. 58

It is important when analysing the cadences in Gesualdo’s madrigals to note their structural and syntactical purpose along with their text expressive properties. In the following chapter, I look at two ways that Gesualdo alters cadences in his madrigals in order to fulfil a syntactic or structural purpose; cadential attenuation, and expressive phrase-overlapping. I have drawn my analysis of these techniques from Turci-Escobar and in the following chapter I summarise his work in order to introduce terminology which I will make use of in my own analysis in later chapters. 59 I also look at unusual cadential variations of the Phrygian cadence, in the following chapter, and these have been identified by La Via in the madrigals of Alfonso

Fontanelli. La Via observes that one of Fontanelli’s Phrygian cadential variations, the

“chromatic (death-) cadence” is also found in the final cadence of Gesualdo’s eleventh madrigal from Book 5, Mercè gridὸ piangendo .60 I have identified further examples of

Fontanelli’s Phrygian cadential variations in Gesualdo’s madrigals that have not been discussed by La Via and I analyse these in detail in Chapter 2 below, first summarising La

Via’s definitions of the cadence types and examples from Fontanelli’s works and then presenting the examples from Gesualdo’s madrigals.

58 Gesualdo, Che sentir deve il petto mio che langue , Madrigals Book II, 24. 59 Turci-Escobar, “Keeping Up With the Words,” 152-185, and “Softening the Edges,” 101-125. 60 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 90-91.

25

Chapter 2 Techniques of Inter-Phrase Continuity and Definitions of Cadence Types in Gesualdo’s Madrigals

Compositional techniques of inter-phrase continuity such as cadential attenuation and expressive phrase-overlapping were important in the Italian madrigal of the late sixteenth and early seventeenth centuries for structural coherence. According to Turci-Escobar, “The humanist imperative to follow the words, the most basic norm of the genre, almost guaranteed a discursive and highly sectionalised musical structure.” 61 Gesualdo often exaggerated the sectionalised musical structure in his madrigals, favouring texts that were full of oxymoron and antithesis and which were well suited to juxtaposing melodic and harmonic material. He also often altered the syntax of a poetic line of text by composing extended musical settings for the semi-phrase or the individual word. In order to counteract juxtapositions of diverse melodic and harmonic material that arose from the expressive setting of the text, techniques such as cadential attenuation and expressive phrase-overlapping encouraged the listener to recognize successive musical phrases as part of the overall syntactic structure of the composition and the setting of the text as a whole. 62

Turci-Escobar observes that Gesualdo achieved cadential attenuation by using various techniques that “diminished or distorted the conclusive effect of a cadence” and which assisted in the interconnection of two adjacent musical phrases. 63 He focuses on four specific types in his analysis: the “evaporated cadence”, the “interrupted cadence”, the “distorted cadence” and the “synecdochic cadence”. In his analysis of these cadence types, Turci-

Escobar refers to the clausula cantizans as the “leading-tone voice,” and the clausula

61 Turci-Escobar, “Softening the Edges,” 101. 62 Turci-Escobar, “Softening the Edges,” 102. 63 Turci-Escobar, “Softening the Edges,” 108. 26 tenorizans as the “counterpointing voice.” 64 I have, however, chosen to retain Meier’s definitions of these clausulae both for consistency and also to avoid the association that terms such as “leading-tone” have with tonal harmony. The examples presented in this chapter are in most part transcribed from Turci-Escobar’s work and I summarise his analysis in order to make clear to the reader the terminology I will apply to my own analysis in Chapters 3-6 of my dissertation. There are some cases where I disagree with Turci-Escobar’s analysis in regard to specific examples of cadence types. Where these cases arise I will present my own perspective, and where appropriate, provide further examples which I believe more accurately represent the cadence type.

2.1 Evaporated Cadences

Evaporated cadences occur in Gesualdo’s music when one or more voices drop out before reaching their cadential goal. Turci-Escobar categorises these cadences into four main groups: those where both voices of the contrapuntal dyad ( clausula cantizans and clausula tenorizans ) resolve as expected; those where the clausula cantizans resolves as expected but not the clausula tenorizans ; those where the clausula cantizans does not resolve but the clausula tenorizans does; and finally where neither voice in the dyad resolves to its expected resolution. 65 Ex. 2.1 demonstrates the first category of evaporated cadences, where both voices in the contrapuntal dyad resolve as expected but one or more of the remaining voices drop out before reaching their cadential goal. A clausula cantizans in the Quintus and a clausula tenorizans in the Tenor both take the syllable gi and form a major sixth progressing to an octave. Both the Altus and Bassus, however, drop out before reaching their cadential goal. This is evident as the penultimate sonority at the cadence is followed by rests in these voices at the final sonority.

64 Turci-Escobar, “Softening the Edges,” 109. 65 Turci-Escobar, “Softening the Edges,” 109-111. 27

Ex. 2.1. Carlo Gesualdo, “Mentre, mia stella, miri,” Madrigals Book I, bars 11-13. 66

Ex. 2.2 shows the second category of evaporated cadences where the clausula cantizans resolves as expected but the clausula tenorizans does not. Here the clausula cantizans in the

Altus ascends by semitone but the clausula tenorizans in the Quintus does not descend by tone. Whilst the D-sharp ascends to E on the syllable i in the Altus, the Quintus drops out rather than descending from F-sharp to E to form a minor-third to unison intervallic progression. The cadence in this example has been significantly weakened as all voices drop out except the Altus on the final sonority of the cadence.

Ex. 2.2. Carlo Gesualdo, “Sì gioioso mi fanno i dolor miei,” Madrigals Book I, bars 10-12. 67

66 Example transcribed from Turci-Escobar, “Softening the Edges,” 107. 67 Example transcribed from Turci-Escobar, “Softening the Edges,” 109. 28

In Ex. 2.3 the third category of evaporated cadences occurs, i.e, those where the clausula cantizans does not resolve but the clausula tenorizans does. In this example the dyad, found in the Cantus and Tenor, begins the intervallic progression from a major sixth outward to an octave; however, only the Tenor with its clausula tenorizans completes this progression, descending by tone from A to G. The F-sharp in the Cantus drops out before its expected ascent to the octave G. The evaporated cadence is followed by rests in all voices before the beginning of the following phrase. This significantly contributes to the affect of cadential attenutation and this is possibly why the cadence has been weakened in order to avoid the perception of a strong resolution.

Ex. 2.3. Carlo Gesualdo, “Felicissimo sonno,” Madrigals Book V, bars 19-21. 68

Turci-Escobar analyses Ex. 2.4 as the fourth and final category of the evaporated cadence, where neither the clausula cantizans nor clausula tenorizans resolve as expected. He observes that the dyad in this example is found in the Quintus and Altus on the syllable lo , and is expected to progress from a minor-third interval of A and C to a unison on B-flat. I disagree with Turci-Escobar here and instead I believe that the Quintus and Cantus contain the contrapuntal dyad. There is a minor-third between the Quintus, C, and Cantus, E-flat, which would be expected to resolve inwards to a unison, D. Whilst the Quintus drops out,

68 Example transcribed from Turci-Escobar, “Softening the Edges,” 111. 29 there is an aural perception of resolution from the minor-third to the unison and therefore I analyse these voices (Quintus and Cantus) as containing the contrapuntal dyad at the cadence.

If the Cantus and Quintus contain the contrapuntal dyad, then the example actually represents the second category of evaporated cadences where the clausula cantizans resolves as expected but the clausula tenorizans does not.

Turci-Escobar also observes that the cadence in Ex. 2.4 creates inter-phrase continuity by denying the resolution to B-flat in the Altus until the beginning of the following phrase where it is introduced in both the Altus and the Bassus. 69 I also disagree with this as the rests which occur between these notes in the Altus prevent the aural perception of resolution and instead have the opposite effect of preventing inter-phrase continuity.

Ex. 2.4. Carlo Gesualdo, “Che fai meco, mio cor misero e solo?” Madrigals Book IV, bars 1-

4. 70

Ex. 2.5 better demonstrates the fourth category of Turci-Escobar’s evaporated cadences. In this example neither the Quintus nor the Altus resolve as expected to an octave on C. Instead

C is introduced in the Tenor an octave below. Inter-phrase continuity is achieved in bar 10 by dovetailing the end of one phrase in the Tenor with the beginning of the next in the Altus.

69 Turci-Escobar, “Softening the Edges,” 112. 70 Example transcribed from Turci-Escobar, “Softening the Edges,” 112. 30

Ex. 2.5. Carlo Gesualdo, Madrigals Book VI , Moro lasso, al mio duolo, bars 9-10. 71

2.2 Interrupted Cadences

The second type of cadential attenuation, interrupted cadences, occur when the clausula cantizans and clausula tenorizans articulate the penultimate harmony but do not resolve as expected. Instead a new vertical sonority is introduced on a metrically strong beat between the penultimate and ultimate sonorities of a cadence and this interrupts the resolution of the dyadic progression. An instance of this occurs in the second bar of Ex. 2.6 below. Even though there is no ascending clausula cantizans in this example, the descending clausula tenorizans in the Bassus with the notes E-flat to D as well as the G to F-sharp in the Altus, show that this is a Phrygian cadence. The expected resolution, however, is interrupted by the introduction of the B-flat in the Quintus and the sustained G in the Altus. After this interruption occurs, the resolution from B-flat to A in the Quintus and G to F-sharp in the

Altus follows one minim beat later.

71 Gesualdo, Moro, lasso, al mio duolo, Madrigals Book VI, 74. 31

Ex. 2.6. Carlo Gesualdo, “Baci soavi e cari,” Madrigals Book I, bars 4-7. 72

2.3 Distorted Cadences

The third category of attenuated cadences is the distorted cadence, which is described by

Turci-Escobar as having “one or more of the non-structural voices introduce closure-denying elements in the terminal harmony.” 73 These closure-denying elements are often introduced dissonances that prevent the resolution of the final sonority in a cadence. Consonances can also be introduced but as they are not the expected notes of resolution they still represent a technique of weakening the cadence. Often these introduced notes are resolved, either after rests or on the first beat of the following musical phrase. Ex. 2.7 contains both an introduced consonance and an introduced dissonance. The introduced dissonance occurs on the syllable lo in the Quintus, where G is repeated over D in the Bassus. This repetition of the G in the

Quintus evades the expected descent from the previous note G to the major-third above the

Bassus, F-sharp. The introduced consonance, B in the Altus, forms a major-sixth above the

Bassus that, whilst consonant, is not the expected resolution of this voice. Normally, the clausula tenorizans in the Altus with the note E would be expected to descend to D and this would double the same clausula that takes place in the Bassus. Turci-Escobar believes that this sonority resolves on the second crotchet beat of bar 23, with the dissonant fourth G in the

Quintus resolving to the F-sharp, and the sixth or B, resolving to the fifth, A, in the Altus. I

72 Example transcribed from Turci-Escobar, “Softening the Edges,” 113. 73 Turci-Escobar, “Softening the Edges,” 116. 32 disagree, and consider instead that the phrase resolves on the final harmony of the preceding bar 22. The sonority formed on the second crotchet beat of bar 23 is preceded in all voices by rests and this significantly weakens inter-phrase continuity.

Ex. 2.7. Carlo Gesualdo, “Itene, o miei sospiri,” Madrigals Book V, bars 21-23. 74

2.4 Synechdochic Cadences

The final category of cadential attenuation, the synechdochic cadence, is not technically a cadence but rather a non-cadential close. Turci-Escobar writes that these closes feature “one or more cadential gestures,” such as the ascending fourth in the Bassus voice or the raised third above the final sonority. 75 In Ex. 2.8 the final cadence of the madrigal can be considered a synechdochic close because there are only two cadential gestures present. This is an unusual example because in most cases synechdochic closes are used for interior cadences and rarely for the final cadence of a composition. The two cadential gestures preserved in this example are the clausula basizans or the descent by perfect fifth in the Bassus, as well as the raised third above the final sonority.

74 Example transcribed from Turci-Escobar, “Softening the Edges,” 118. 75 Turci-Escobar, “Softening the Edges,” 121. 33

Ex. 2.8. Carlo Gesualdo, “Luci serene e chiare,” Madrigal Book IV, bars 48-52. 76

2.5 Expressive Phrase-Overlapping

In addition to the four categories of attenuated cadences discussed above, Turci-Escobar also describes another compositional technique of inter-phrase connection in the madrigals of

Gesualdo: expressive phrase-overlapping. In expressive phrase-overlapping, text-expressive devices such as dissonance, false-relations and chromatic semitones are introduced in one or more voices that begin a new line of text, and this occurs whilst the other voices are completing a cadence involving the preceding line of text. 77 One example of this, dissonant phrase-overlapping, involves dissonances formed between the opening melodic and harmonic gestures of the new line of text, and the closing gestures of the previous line at the penultimate or at the final sonority of cadence. There are three-subtypes of dissonant phrase-

76 Gesualdo, Luci serene e chiare, Madrigals Book IV, 27. 77 Turci-Escobar, “Keeping up with the Words,” 152-153.

34 overlapping identified by Turci-Escobar and these involve passing notes, neighbour notes and dissonant suspensions.

2.6 Passing Notes

Turci-Escobar notes that most examples of dissonant phrase-overlapping involve passing notes. These passing notes are unaccented and they occur over the final sonority of the cadence on the preceding line of text. 78 In Ex. 2.9 the voice that introduces the new line of text begins on a passing note, F, in the Cantus and exclaims ahi . This F creates a dissonant minor ninth with the Bassus as well as a diminished fifth with the Altus and Quintus. The expressive nature of this F is exaggerated by its high register in the Cantus voice as well as its duration of two minims.

Ex. 2.9. Carlo Gesualdo, “Moro, lasso, al mio duolo,” Madrigal Book VI, bars 34-37. 79

2.7 Neighbour Notes

Neighbour notes occur much less commonly than passing notes in dissonant phrase- overlapping. Turci-Escobar observes that the use of dissonant neighbour notes for this technique is found primarily in the madrigals of Gesualdo, with isolated examples in the

78 Turci-Escobar, “Keeping up with the Words,” 156. 79 Example transcribed from Turci-Escobar, “Keeping up with the Words,” 158. 35 works of Marenzio and Monteverdi. 80 In many examples from Gesualdo’s madrigals, the neighbour note forms a dissonant fourth which overlaps with the final sonority of a cadence on the preceding line of text. This is the case in Ex. 2.10. Here the dissonant fourth is present between the Altus and Tenor and also between the Altus and Bassus with the notes B-flat and

E-flat. The expected 3-4-3 or D – E-flat – D neighbour motion is denied by the repetition of the E-flat on the syllables m’ucci from the word m’uccide . The dissonance here is also exaggerated by the lack of an accompanying 5-6-5 or F-G-F neighbour motion in the

Quintus. Instead the fifth above the Bassus, F, is sustained, creating the dissonant interval of a tone between Quintus and Altus. This dissonant interval is sustained even after the Quintus drops out, as the Tenor then takes over with the syllables m’uc on the second semibreve of the bar.

Ex. 2.10. Carlo Gesualdo, “Asciugate i begli occhi?” Madrigals Book V, bars 24-26. 81

2.8 Dissonant Suspensions

The third sub-type of dissonant phrase overlapping features dissonant suspensions and is the least common, being found only in the works of Gesualdo and Fontanelli published in Ferrara

80 Turci-Escobar, “Keeping Up With the Words,” 167. 81 Example transcribed from Turci-Escobar, “Keeping Up With the Words,” 162. 36 during the 1590s. 82 For Gesualdo, these works include his first four books of madrigals, published in 1594 (Books 1 and 2), 1595 (Book 3), and 1596 (Book 4), but not his fifth and sixth books. In this sub-type, the dissonant suspension is most commonly formed at the final sonority of a cadence and only rarely at the penultimate sonority.

In Ex. 2.11 dissonant suspensions arise in the second bar. These suspensions are formed from the rhythmic displacement of the overlapping entries of the Cantus and Quintus. In this case, the suspension is formed over the penultimate sonority of the cadence of the preceding line of text, with the syllable L’a in the Quintus. The cadence is further weakened by the absence of a clausula cantizans or ascending semitone to F in the Cantus of the penultimate sonority (on the syllable re ). The dissonant suspension 9-8 is created between the Quintus and Bassus (an

E descending to a D in the Quintus over a D in the Bassus). At the same time there are two harsh 2-3 suspensions between the Cantus and Quintus, first a dissonant semitone between E and F, and then a tone D and E.

Ex. 2.11. Carlo Gesualdo, “Dolcissimo sospiro,” Madrigals Book III, bars 19-21. 83

82 Turci-Escobar, “Keeping Up With the Words,” 167. 83 Example transcribed from Turci-Escobar, “Keeping Up With the Words,” 166. 37

2.9 False Relations

The second category of expressive phrase-overlapping techniques involves phrase- overlapping with false relations. Turci-Escobar writes that this occurs when the overlapping subject introduces false-relations over the final cadential sonority of a preceding line of text.

This sonority does not have to be part of a cadence, and could instead be the final sonority of a non-cadential or synechdochic close. 84 False-relations usually occur with the first note of the overlapping line of text and in most cases signals a progression, as Turci-Escobar describes it, “to the flat side.” 85 By this he means that the false-relation will involve a naturalisation of a raised note or a flattening of a natural note. In most cases this in order to avoid an expected ascending semitone resolution which can occur with the raised third above the Bassus in the penultimate harmony of an Authentic cadence. In Ex. 2.12 false relations occur between the Altus and Tenor in the third bar. The major third (F-sharp in the Altus above D in the Bassus), is followed immediately by an F-natural in the Tenor, which begins the new line of text with the word lasso . The Authentic cadence which takes place on the word core is weakened by the false relations introduced with the following line of text and this helps to create continuity between the two textual phrases.

Ex. 2.12. Carlo Gesualdo, “Candido e verde fiore,” Madrigals Book VI, bars 12-15. 86

84 Turci-Escobar, “Keeping Up With the Words,” 167. 85 Turci-Escobar, “Keeping Up With the Words,” 168. 86 Example transcribed from Turci-Escobar, “Keeping Up With the Words,” 168. 38

2.10 Expressive Phrase-Overlapping with Chromaticism

The third category of expressive phrase-overlapping techniques is phrase-overlapping with chromaticism. Turci-Escobar notes that this technique was used prominently by composers of the Ferrarese-Neapolitan school, such as Gesualdo and Fontanelli, and that in almost all cases the chromaticism involved descending, rather than ascending, chromatic semitones in the overlapping line of text. 87 There are two sub-types of expressive phrase-overlapping with chromaticism described by Turci-Escobar. The first of these involves indirect chromaticism and it is referred to as such because something, often rests, intervenes between the two notes which form the chromatic semitone. The chromatic semitone also always occurs between the last note of the preceding line of text and the first note of the following line. Indirect chromaticism is shown in Ex. 2.13 in the Tenor. Here the preceding phrase ends in bar 2 with an Authentic cadence on the syllable ca , and the Tenor sings the major third, B-natural, above

G in the Bassus. This is then followed by a B-flat in the same voice which begins the following line of text, che sospirando tocca .

Ex. 2.13. Carlo Gesualdo, “Dolce spirto d’Amore,” Madrigals Book III, bars 39-42. 88

87 Turci-Escobar, “Keeping Up With the Words,” 174. 88 Gesualdo, Dolce spirto d’Amore, Madrigals Book III, 31. 39

2.11 Expressive Phrase Overlapping with Direct Chromaticism

The second subtype of expressive-phrase overlapping with chromaticism is direct chromaticism, and in this subtype the chromaticism occurs directly without any intervention such as rests. In Ex. 2.14 the direct chromaticism first occurs in the Tenor and is then imitated in the Quintus. This chromaticism occurs in the phrase fieri soavi where the C-sharp descends by semitone to C-natural, moving from a major third above A in the Bassus, to a minor third.

In the Quintus the same semitone descent occurs, with a G-sharp descending to a G-natural.

In this case, a major sixth descending to a minor sixth takes place over the B in the tenor. The dissonant tritone between Quintus and Altus (G-sharp and D respectively), is also resolved to a less dissonant, perfect fourth. Turci-Escobar notes that the chromatic “softening” from a major third to a minor third, or a major sixth to a minor sixth, accurately portrays the text

“soavi” which means soft. 89

Example 2.14: Carlo Gesualdo, Madrigals Book IV, Mentre gira coste i , bars 4-6. 90

89 Turci-Escobar, “Keeping Up With the Words,” 174.

90 Example transcribed from Turci-Escobar, “Keeping Up With the Words,” 174. 40

2.12 Other Types of Cadential Chromaticism Identified by Turci-Escobar in Gesualdo’s

Madrigals

As well as techniques of cadential attenuation and expressive phrase-overlapping discussed above, Turci-Escobar also analyses other examples of cadential chromaticism which affect the harmonic structure of Gesualdo’s madrigals. Gesualdo makes use of cadential chromaticism more regularly in his later books of madrigals, and a significant increase can be seen from books III and IV onward, with the most chromatic works found in his last two books, V and VI.91 Turci-Escobar focuses his discussion on the varying manipulations of what he refers to as chromatic “leading-tones” employed by Gesualdo at cadence points.

Turci-Escobar’s conception of the leading-tone and its function in pre-tonal music is:

notes with a tendency to proceed by diatonic semitone in progression from imperfect

to perfect consonances . . . .Leading tones, which can be natural or chromatic, have

both a melodic dimension, implying a resolution by diatonic semitone, and a

harmonic one, forming part of an imperfect consonance with a strong tendency to

resolve to a perfect one. 92

In my summary of Turci-Escobar’s analysis, I will instead refer to these leading-tones as ascending or descending semitones, and when they function as the upper part of the contrapuntal dyad at cadence points, I will refer to them with Meier’s definition of clausula

91 This increase was likely due to the influence of the works of other chromatic madrigalists, such as LuzzascoLuzzaschi and Luca Marenzio with whom Gesualdo became acquainted during his time in the Ferrara court from 1594 to 1597. For more on Gesualdo’s time at this court, see Glenn Watkins, Gesualdo: The Man and His Music (London: Oxford University Press, 1973), Cecil Gray and Philip Heseltine, Carlo Gesualdo: Musician and Murderer (Westport: Greenwood Press, 1971), Alfred Einstein’s pivotal work, The Italian Madrigal, trans. Alexander H. Krappe, Roger H.Sessions and Oliver Strunk (Princeton: Princeton University Press, 1949) and Anthony Newcomb, The Madrigal at Ferrara: 1579-1597 (Princeton: Princeton University Press, 1978) . Also, Anthony Newcomb, “Carlo Gesualdo and a Musical Correspondence of 1594,” The Musical Quarterly 54 (1968): 409-436, provides a collection of primary source letters written from Gesualdo’s courtier Fontanelli to the Duke of Ferrara, Don Alfonso D’Este which sheds some light on the character of Gesualdo during his period at the Ferrara Court. 92 Turci-Escobar, “Carlo Gesualdo’s Harsh and Bitter Music,” 143. 41 cantizans . As mentioned previously, this is both for consistency and also to avoid reference to anachronistic conceptions of the leading tone associated with tonal harmony.

Turci-Escobar considers two main types of ascending or descending semitone manipulations that occur in Gesualdo’s madrigals. From the fourth book onwards, he notes that there are numerous cases of what he refers to as “thwarted” or “conflicted” ascending and descending semitones. 93 When these occur, the first rather than the second note in the semitone interval implies a need for resolution. This ascending or descending semitone, however, does not resolve and it is instead interrupted by the second note in a chromatic semitone which moves to resolve in a new harmonic direction. 94 One category of semitone manipulation is the semitone exchange. In this category, a chromatic semitone interrupts the resolution of an ascending or descending semitone in one voice and a new ascending semitone is introduced in another voice which changes the harmonic direction of the passage overall. 95 There are two sub-types of ascending semitone exchange that Turci-Escobar identifies in his analysis: the flip and the semitone deflection.

2.13 Semitone Flip

The semitone flip involves a semitone in one voice thwarted by another introduced in another voice. The introduced semitone occurs at the interval of a diminished third or augmented sixth from the note in the first voice. Both of these semitones imply a resolution to the same note but from the opposite direction, one ascending and the other descending. In Ex. 2.15 the expected Phrygian cadence which would occur with the descending semitone in the Bassus, or E-flat descending to D, is interrupted by its unexpected ascent by chromatic semitone to E-

93 Turci-Escobar, “Gesualdo’s Harsh and Bitter Music,” 166. 94 Turci-Escobar, “Gesualdo’s Harsh and Bitter Music,” 166. 95 Turci-Escobar, “Gesualdo’s Harsh and Bitter Music,” 172.

42 natural. The new ascending semitone C-sharp then enters on the penultimate sonority of the cadence and functions as a clausula cantizans resolving to D.

Ex. 2.15. Carlo Gesualdo, “O sempre crudo amore,” Madrigals Book IV , bars 11-14. 96

2.14 Semitone Deflection

The second sub-type of semitone exchange is the semitone deflection. This differs from the semitone flip because rather than both notes implying a resolution to the same tone (as in Ex.

2.15), the newly introduced semitone implies a new harmonic resolution, changing the harmonic direction. There are two kinds of semitone deflections: the semitone slide and the semitone collapse. A semitone slide involves a semitone in one voice interrupted by a new semitone introduced an augmented third above or below. One common type of semitone slide occurs when a semitone with a tendency to resolve by descent is interrupted by a semitone with a tendency to ascend. This often results in parallel major thirds or, less frequently, minor sixths between two voices. 97

This particular technique is used by Gesualdo to lead unexpectedly to a penultimate sonority in a cadence and one such instance of this is shown below in Ex. 2.16. In this example from

Gesualdo’s fifth book of madrigals, the expected descending semitone, A-flat to G in the

Bassus, is interrupted by an ascending semitone, C-sharp to D in the Cantus. The second

96 Example transcribed from Turci-Escobar, “Gesualdo’s Harsh and Bitter Music,” 174. 97 Turci-Escobar, “Gesualdo’s Harsh and Bitter Music,” 182. 43 sonority in this example functions as the penultimate sonority of the cadence which then resolves to the ultimate sonority on D in the Bassus. This example also shows simultaneous chromatic semitones in parallel major thirds between the Bassus and Cantus and this particular characteristic is common with semitone deflections.

Ex. 2.16. Carlo Gesualdo, “Itene o miei sospiri,” Madrigals Book V , bar 2. 98

Semitone slides to the flat side are much less common and occur mostly in madrigals with a cantus mollis signature (a key signature of one flat). The most frequent use of these involves the voice containing an ascending semitone interrupted by an introduced descending semitone. This is the opposite of the semitone slide to the sharp side. In Ex. 2.17 the minor tenth between F-sharp and D-sharp in the Altus and Bassus does not resolve inwardly to an octave on E as expected. Instead the ascending semitone, D-sharp, is interrupted by the descending semitone, B-flat, in the Quintus. This B-flat over D in the Bassus, forms a six- three sonority which functions as the penultimate harmony in the cadence. This harmony then resolves to a triadic sonority on A.

98 Example transcribed from Turci-Escobar, “Gesualdo’s Harsh and Bitter Music,” 184. 44

Ex. 2.17. Carlo Gesualdo, “Occhi del mio cor vita,” Madrigals Book V, bars 40-41. 99

The second type of semitone deflection, the semitone collapse, is extremely rare and occurs in only two of Gesualdo’s madrigals. Both examples are found in Book 5. The semitone collapse consists of an ascending semitone interrupted by an introduced descending semitone an augmented fifth below. In Ex. 2.18 below, the major sixth between C-sharp in the Cantus and the E in the Quintus does not progress outwards as expected to the octave D. The note E does progress to D in the Quintus but the resolution of the C-sharp in the Cantus is interrupted by a descending chromatic semitone to C-natural. A new descending semitone, F, enters in the Tenor and results in a Phrygian cadence with a six-three sonority on F progressing to a triadic sonority on E.

Ex. 2.18. Carlo Gesualdo, “Tu’ m’uccidi o crudele,” Madrigal Book V, bars 19-20. 100

99 Example transcribed from Turci-Escobar, “Gesualdo’s Harsh and Bitter Music,” 204. 100 Example transcribed from Turci-Escobar, “Gesualdo’s Harsh and Bitter Music,” 66. 45

2.15 Fontanelli’s Phrygian Cadential Variations

La Via’s work discusses cadential variations on the Phrygian cadence specific to Fontanelli and his contemporaries. 101 There are two types that appear in Gesualdo’s madrigals and I present examples of these below alongside La Via’s own examples from Fontanelli’s repertory. The first of these variations is the “chromatic-major” Phrygian cadence. 102 La Via notes that in this cadence there is a dissonant descending melodic progression of a diminished fourth which moves parallel to the descending clausula tenorizans in the lowest voice. This results in the chromatic progression from a major triadic sonority, such as an E-flat major triad, to another major triadic sonority a semitone below, such as a D-major triad. 103 In Ex.

2.19, from Fontanelli’s second book of madrigals, the descending diminished fourth interval occurs in the Cantus, from B-flat to F-sharp. When combined with the ascending major second progression of the clausula cantizans in the Tenor and the descending minor second of the clausula tenorizans in the Bassus, there is a progression from an E-flat major sonority to a D major sonority.

Ex. 2.19. Alfonso Fontanelli, “Dovro dunque morire,” Madrigal Book II, bars 3-4. 104

101 See La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 82-91. 102 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 85. 103 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 85. 104 Example transcribed from La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 79. 46

In Ex. 2.20, from Book 1 of Gesualdo’s madrigals, the same cadence type is found. In this instance, the dissonant descending diminished fourth interval in the Altus does not occur directly but includes stepwise motion from the B-flat descending to A – G and finally F- sharp. 105 The resolution to the D major triad is also evaded by the ascent to the upper neighbour-note B-flat in the Tenor. The harmonic motion from an E-flat major triadic sonority to a D major triadic sonority, however, is the same.

Ex. 2.20. Carlo Gesualdo, “Quanto ha di dolce amore,” Madrigal Book I, bars 1-3.

The second cadential variant utilised by Fontanelli is what La Via refers to as the “mixed

Phrygian/half cadence.” 106 He writes that this variant has a descending clausula tenorizans in an upper voice and an ascending clausula cantizans in the lowest voice, similar to that of a

Semiperfect cadence. In addition, the cadence is mediated with a dissonant sonority containing the sixth and fourth scale-degrees above the Bassus. These sixth and fourth scale- degrees in most cases descend by semitone at the final sonority of the cadence. La Via notes that in Fontanelli’s madrigals, this cadence is always used in order to set text with “an association with harsh feelings of pain, deprivation, pity, and death.” 107 In Ex. 2.21 from

Fontanelli’s first book of madrigals, a descending melodic semitone occurs in the Quintus voice and progresses from E to D-sharp. This melodic progression is mediated with the

105 Gesualdo, Quanto ha di dolce Amore, Madrigals Book I, 17. 106 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 88. 107 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 88. 47 repetition of the note E on the syllable len . Similarly, the ascending melodic tone of the clausula cantizans takes place in the Bassus voice, but is mediated with a repetition of the second note B. The resolution and its mediation are tied together in this case. The vertical sonorities above the Bassus form an A minor triadic sonority moving to a B major triadic sonority, but mediated by a sonority with the sixth and fourth intervals above the Bassus. The text in me dolente , or in me, suffering , is consistent with La Via’s idea that these cadence types are associated with harsh feelings of suffering and pain.

Ex. 2.21. Alfonso Fontanelli, “Misero, chi’io sperava,” Madrigal Book I, bars 33-34. 108

Gesualdo also makes use of this type of Phrygian variant as the final cadence in one of his madrigals. This is shown in Ex. 2.22, from his third book of madrigals. In this example, the

Phrygian cadence is mediated by a dissonant sonority again with the sixth and fourth scale- degrees above the Bassus. This dissonant sonority occurs on the syllable re . Both the A in the

Cantus and the C in the Altus descend by semitone to G-sharp and B and complete the

Phrygian cadential progression on the downbeat of the last bar. The text, although not displayed completely in this example, reads di duol e martire , or, of torment and despair and contains expressions of grief consistent with La Via’s thoughts on the harsh text expression associated with these cadence types.

108 Example transcribed from La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 70.

48

Ex. 2.22. Carlo Gesualdo, “Non t’amo, o voce ingrate,” Madrigal Book III, bars 29-30. 109

2.16 “Chromatic (death-) Cadences” 110

Another unusual cadence type analysed by La Via in the madrigals of Fontanelli is the

“chromatic (death-) cadence.” La Via writes that this cadence was consistently associated with the setting of text which involved “images of extreme pain and death” and that it was characterised by an ascending semitone resolution which resulted in a triadic shift from a minor sonority to a major sonority. 111 La Via writes that of most interest is the

“(mollis>durus) cadential shift” that Fontanelli made use of in the final cadence of two of his madrigals. 112 He notes that even Gesualdo did not begin to make use of these types of cadences until his fifth book of madrigals. In Ex. 2.23, from Fontanelli’s first book of madrigals, this mollis–to–durus triadic shift is found in the progression from a G triadic sonority with a minor third in the last beat of the second bar, to a G triadic sonority with a raised third which functions as the final sonority of the cadence. One explanation for this particular cadence type would be an adherence by the composer to the convention of the major third included above the Bassus at the final sonority of the final cadence of a composition. This convention occurs in almost all of Gesualdo and Fontanelli’s madrigals.

109 Gesualdo, Non t’amo, o voce ingrata, Madrigals Book III, 43. 110 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 85 111 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 85 112 La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 91. 49

When a minor-third is included above the Bassus at the final sonority of the final cadence it is an exception, often with a specific text-expressive purpose.

Ex. 2.23. Alfonso Fontanelli, “Ridendo mormorὸ pietosa maga,” Madrigal Book I, bars: 37-

40. 113

Ex. 2.24 below, from Gesualdo’s sixth book of madrigals, makes use of this particular type of cadence as the final cadence of the work. Here a Semiperfect cadence occurs at the end of the first bar resolving to a G-with-m3. In the following bar this G is sustained in the Quintus and

Bassus voices whilst the Cantus ascends chromatically and the Altus and Tenor move towards a second Semiperfect cadence. This time the cadence resolves to a G-with-M3. The text dolore , or pain is constantly repeated throughout these bars and this is consistent with La

Via’s theory that these cadences are regularly associated with textual images of pain and death.

113 Example transcribed from La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 91. For the remainder of this thesis I will refer to sonorities such as a G triadic sonority with a minor third, as G-with-m3, and with a capital M when the sonority includes a major third (G-with-M3). 50

Ex. 2.24. Carlo Gesualdo, “Belta, poi che t’assenti,” Madrigal Book VI, bars: 33-35. 114

114 Gesualdo, Mercè, gridὸ piangendo, Madrigals Book V, 49-51. Referenced in La Via, “Alfonso Fontanelli’s Cadences and the Seconda Pratica,” 91. Also my example from Gesualdo, Belta, poi che t’assenti, Madrigals Book VI, 43.

51

Chapter 3

Textual and Polyphonic Segmentation in Gesualdo’s Quanto ha di dolce amore

3.1 Formal Units in Quanto ha di dolce amore

In order to further demonstrate the application of Bruno’s analysis of polyphonic and textual segmentation to Gesualdo’s madrigals I now present a detailed study of Quanto ha di dolce amore . I focus on both textual and polyphonic segmentation as well as identifying formal units. I then complete a cadential analysis which examines all of the cadences that take place in each polyphonic phrase. Table 3.1 presents the text from Quanto ha di dolce amore . The text for this madrigal was composed by Giovanni Battista Guarini (1538-1612) and consists of the second part of his canzone , Baci soavi e cari .115 Each line of text in Table 3.1 is assigned a letter for easy reference. Whilst the left-hand side of the table presents the text as it appears in Guarini’s canzone , the right-hand-side shows Gesualdo’s adjustments. Most notably, it shows Gesualdo’s use of sinalefe to reduce Guarini’s original lines of text to seven- and eleven-syllable lines.116 One particular example of sinalefe occurs in the text perché sempre io vi baci . In this example, a nine-syllable line is condensed to seven syllables by combining the syllables pre and io on one metric beat. This results in the line sounding as: per-ché sem- pr’i’ vi ba-ci .117 In Table 3.1 I have made use of hyphens in multi-syllable words in order to show where the syllables occur and apostrophes to demonstrate missing syllables as a result of sinalefe .

115 See Guarini, Il pastor fido , (Bari: G. Laterzi and Brother, 1914). 116 I have transcribed the text, punctuation and order of lines in Quanto ha di dolce amore along with my remaining chosen madrigals from the scores edited by Watkins and Weismann. See Gesualdo, Madrigals Book I-VI, ed. Wilhelm Weismann and Glenn E. Watkins (Leipzig: Deutscher Verlag für Musik, 1963). 117 This example has been hyphenated in order to more clearly display the seven syllables. Whilst the word sem- pri does not exist, it is a result of what is heard in the performance of this work when combining the words sempre and io into two syllables. As an aural guide, I have chosen the Kassiopeia Quintet who have recorded the entire six books of Gesualdo’s madrigals. See Don Carlo Gesualdo, Madrigali Libri I-VI , perf. Kassiopeia Quintet, Globe, 2004-2008.

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Table 3.1: Textual organisation and use of sinalefe in Quanto ha di dolce amore

Original Line of Text Number of Syllables Line of Text as it Appears with

Sinalefe

A: Quanto ha di dolce amore, (9 reduced to 7 syllables) Quan-t’a di dolc’a-more

B: perché sempre io vi baci, (9 reduced to 7 syllables) per-ché sempr’i’ vi baci

C: o dolcissime rose, (7 syllables) o dol-cis-si-me ro-se

D: in voi tutto ripose; (7 syllables) in voi tut-to ri-po-se;

E: Deh s’io potessi ai vostri dolci baci (13 reduced to 11 syllables) Deh, s’o po-tes-s’-ai vos-tri dol-ci baci

F: la mia vita finire, (7 syllables) la m’a vi-ta fi-ni-re,

G: o che dolce morire! (7 syllables) o che dol-ce mo-ri-re!

Table 3.2 below demonstrates how Gesualdo has organised text-setting in Quanto ha di dolce amore and identifies the formal units of polyphonic phrase, period and section. Each of the letters (A, B, C, D, E, F, and G) represent a line of text and correspond to the same set of letters in Table 3.1. The letter P represents the formal unit of the polyphonic phrase. Unlike

Bruno’s repertory of villanescas where each polyphonic phrase corresponds with a single line of text, in Quanto ha di dolce amore , some lines of text such as lines B and G have been combined with their immediate repetitions into single polyphonic phrases. A line of text and its immediate repetition are usually grouped together in Bruno’s methodology to form the larger formal unit of the repeated period. In Quanto ha di dolce amore , however, lines B and

G and their repetitions, identified in the table as (B, B) and (G, G, G, G), represent both the larger formal unit of the repeated period and also the smaller formal unit of the polyphonic phrase. The reason lines B and G have been combined with their repetitions into single polyphonic phrases is because at the end of the first statement (or statements of the lines of text, in the case of line G), either no cadence is formed, or instead there are cadences that do not adhere to Mangani’s criteria for polyphonic segmentation. Other lines of text like D, E

53 and F involve separate polyphonic phrases for the initial statement of the text and each repetition. This is because each of these lines conclude with a cadence that meets Mangani’s criteria of polyphonic segmentation. Each of the polyphonic phrases and the cadences associated with them are analysed in detail below in this chapter.

As demonstrated in Table 3.2, polyphonic phrases in Quanto ha di dolce amore most often correspond with seven-syllable lines of text. There are fourteen polyphonic phrases in this madrigal, and of these, nine involve a single seven-syllable line of text, (A, A, C, C, D, D, D,

F and F). The remaining polyphonic phrases, (B, B), (B, B) and (G, G, G, G) also consist of seven-syllable lines of text but they are combined with their repetitions in order to form a single polyphonic phrase. The line E is the only polyphonic phrase that sets an eleven- syllable line of text, however, the repetition of this line, which is a separate polyphonic phrase, reduces the entire eleven-syllable line to another seven-syllable line. Instead of, Deh, s’o po-tes-s’-ai vos-tri dol-ci baci , the repetition reduces the text to ai vos-tri dol-ci baci .

Larger formal units such as the repeated period are used frequently by Gesualdo in this madrigal, with six occurrences in lines B, D, E, F and G. Only lines A and C are not subject to immediate repetition. A double period also occurs with the lines A, B, C and D. After line

D has been sung, all four lines are repeated. There is a slight alteration, however, between the first four lines and their repetition in this double period as the second time the four lines are sung a repeated period occurs with line D. Unlike other through-composed examples of

Gesualdo’s madrigals, I believe this use of the double period represents a clear point of division between the first four lines of text, A, B, C, D and the following three lines E, F, and

G. I have, therefore, identified two polyphonic sections in this madrigal. The first of these contains the first four lines, their repeated periods and the larger double period. The second polyphonic section contains the last three lines of text, E, F and G, along with their repeated periods.

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Table 3.2: Diagram of Textual and Polyphonic Segmentation in Quanto ha di dolce amore

Quanto ha di dolce amore

Polyphonic Section 1 Polyphonic Section 2

P P P P P

Double Period (E, E) (F, F) (G, G, G, G)

P P P P P P P P P Repeated Periods

A, (B, B) C, D A, (B, B) C, (D, D)

Repeated Period Repeated Periods

3.2 A Cadential Analysis of Quanto ha di dolce amore

As well as identifying textual segmentation and the formal organisation of the text in

Gesualdo’s setting of Quanto ha di dolce amore , cadential analysis is also important as a means of determining polyphonic segmentation. In Quanto ha di dolce amore , the cadences that involve polyphonic segmentation take place at the end of each polyphonic phrase. The definitions I use for the cadence types described in my analysis are those discussed previously in Chapters 1 (sections 1.2 and 1.3) and 2 (sections 2.1-2.16). These definitions draw primarily from the writings of Meier, Turci-Escobar, and La Via.

In his methodology, Bruno examines the use of different cadence types in each formal unit.

He measures what he refers to as the relative strength of conclusiveness in cadences, and this

55 concept refers specifically to the perception of harmonic resolution that occurs with each cadence. Authentic cadences are considered by Bruno to have a stronger feeling of resolution than other cadence types, and the weakest resolution is observed with evaded cadences. 118

Polyphonic segmentation, or the perception of segmentation between two adjacent polyphonic phrases, is also in most cases stronger in relation to the perception of the cadential resolution. This is often found in Gesualdo’s madrigals and weaker evaded cadences, such as those described in Chapter 2 (section 2.1-2.10), are used to mark formal units such as interior polyphonic phrases, and stronger Authentic cadences used to mark the end of larger formal units such as the polyphonic period or section. By interior polyphonic phrases I refer to those phrases in Quanto ha di dolce amore that do not correspond with the endings of larger formal units such as the period or section. Polyphonic phrases that do correspond with the endings of larger formal units are found with lines D and G. There are frequent exceptions in Gesualdo’s madrigals to the use of cadence types in relation to their strength of resolution, and these exceptions often occur to convey a particular emotive quality of the text through music. An example of this takes place where an emotion of weakness described in the text is coupled with an evaded cadence, but at a position such as the end of a polyphonic period. The cadence at this period would normally be expected to correspond with a stronger cadential resolution such as with an Authentic cadence. The exceptions increase significantly in the later, more chromatic and dissonant books of madrigals and I deal with examples of these in

Chapter 4 and 5.

Bruno makes use of tables to demonstrate his cadential analysis and its relation to the polyphonic segmentation of the composition. The first of these tables focuses primarily on identifying and analysing the various cadence types that are present in a composition. 119 My

118 Bruno, “A Methodological Approach,” 49. 119 See Bruno’s Table 1, “A Methodological Approach,” 53.

56 adaptation of this first table for the cadential analysis of Quanto ha di dolce amore is presented below as Table 3.3. In this table I list all of the cadences that occur in each of the polyphonic phrases and note the text that is set. I then specifically analyse each particular cadence type, as well as the melodic scale-degree motion of each of the voices that take part in the cadence.

Table 3.3: Cadential structures in Quanto ha di dolce amore 120

Polyphonic Phrase Poetic Text Bar Numbers from Appendix 1 Cadence that contain the Melodic Scale- Type Degree Motion A Quanto ha di dolce Bar 3 Interrupted amore Cadence

B Perche sempre io vi No Cadence baci Perche sempre io vi Bar 7 Evaporated baci Cadence C O dolcissime rose Bar 8-9 Synechdochic Cadence D In voi tutto ripose Bar 10 Semiperfect

A’ Quanto ha di dolce Bar 13 Interrupted amore Cadence

B’ Perche sempre io vi No Cadence baci

Perche sempre io vi Bar 17-18 Evaporated baci Cadence C’ O dolcissime rose Bar 19-20 Authentic

D’ In voi tutto ripose Bar 22 Semiperfect

D’’ In voi tutto ripose Bar 24 Semiperfect

120 This table is adapted from Bruno, Table 1, “A Methodological Approach,” 53-54. 57

E Deh, deh, s’io potessi Bar 27 Semiperfect ai vostri dolci baci E’ ai vostri dolci baci Bar 28-29 Authentic

F La mia vita finire Bar 30-31 Authentic

F’ La mia vita finire Bar 32 Authentic

G O che dolce morire Bar 35 Imperfect

O che dolce morire No Cadence

O che dolce morire Bar 38 Authentic

O che dolce morire Bar 39-40 Authentic Cadence

In my adaptation of Bruno’s first table of cadential analysis I make two notable alterations from his original. The first is that I do not analyse multiple tonal centres in Gesualdo’s madrigal. Bruno, on the contrary, identifies multiple tonal centres in the villanescas and relates them to the harmonic resolutions of each individual cadence. 121 In Gesualdo’s madrigals, cadences are resolved onto many distantly related triads throughout the composition. Unlike the villanescas, however, these triads do not outline harmonic motion to multiple tonal centres. Instead they serve a melodic and contrapuntal rather than a harmonic function. One example of this can be found in Moro lasso, al mio duolo (shown as Ex. 3.2 below). This example is particularly noteworthy as cadences are formed on triads as distantly related as, C-m3, C-sharp-M3 and D-M3 in consecutive polyphonic phrases. The C-sharp-M3 triad can be understood as a result of preserving the melodic contour of consecutive descending minor thirds in the Bassus. These occur from G-E and then E-C-sharp. In order to avoid the dissonant tritone, G-sharp is added above the Bassus, and E-sharp is also included in order have the raised-third in the final sonority. In many cases, cadential resolutions to

121 Bruno, “A Methodological Approach,” 52. 58 distantly related triads such as C-sharp-M3 also have a text-expressive purpose. The polyphonic phrase which involves the cadential resolution to C-sharp-M3 sets the text: Ahi, che m’ancide . This can be translated as “Alas, is killing me”, which is more clearly understood with the previous sentence “and the one who might save me, alas, is killing me.” 122 The unexpected resolution to the C-sharp-M3 triad, given the preceding and proceeding resolutions onto C-m3 and D-M3, fits appropriately with the violent textual sentiment.

Ex. 3.2. Carlo Gesualdo, “Moro, lasso, al mio duolo,” Madrigals Book VI , bars 9-13. 123

122 My translations of textual lines into English are based on those of Susannah Howe. See Susannah Howe, Liner notes in Carlo Gesualdo, Madrigali Libro Primo 1594 , perf. Delitiae Musicae, Naxos, 2010. 123 Gesualdo, Moro, lasso, al mio duolo, Madrigals Book VI, bars 9-13. 59

With the type of extreme chromaticism shown in Ex. 3.2, as well as the distant relationship between each of these triads, the tonal centre could be viewed as changing with each consecutive cadence. Instead of identifying multiple tonal centres, however, I instead view each cadence in terms of its own harmonic resolution, but not in relation to an overall tonal centre. For example, a Phrygian cadence which resolves on a D-M3 triadic sonority is analysed in terms of D-M3. In my adaptation of Bruno’s second and third tables of cadential analysis I do relate each of the cadential resolutions in a madrigal to one overall tonal-centre, but not multiple tonal centres such as in Bruno’s work. This is discussed in more detail later in this chapter.

Another adaptation to Bruno’s work I make in my first table of cadential analysis is that I do not record the melodic scale-degree numbers in the table itself, but instead direct the reader to specific bar numbers in my annotated transcription of the score presented in Appendix 1. The reason I do not include the melodic scale-degree motion in the table itself is because whilst in

Bruno’s repertory the cadences are in most cases homophonic, in Gesualdo’s madrigals much more complicated polyphonic motion occurs. In the annotated transcription I am able to more clearly record the melodic scale-degree numbers above each of the voices at individual cadences. Rather than listing these scale-degree numbers in the table itself, I instead list the bar numbers where each of the cadences take place in the annotated transcription. This is so that the reader is guided to the transcription for the study of each specific cadence.

Apostrophes next to a letter in Table 3.3 indicate that the line of text has been repeated in order to form a second polyphonic phrase; for example the two polyphonic phrases that make use of the line A, Quanto ha di dolce amore , are marked A and A’. Polyphonic phrase D’’ is marked with two apostrophes because the line of text has been repeated for a third time resulting in a third polyphonic phrase. The previous polyphonic phrases with the line D are

60 marked D and D’. Cadence types that are presented in Table 3.3 are discussed in more detail below, with specific analysis of each example from each polyphonic phrase.

Polyphonic Phrase A: Here an interrupted cadence occurs and the expected Phrygian resolution from an E-flat-M3 triad to a D-M3 triad is interrupted by the accented neighbour tone, B-flat, in the Tenor on a metrically strong beat. This B-flat, along with G in the Altus, forms a sonority with scale-degrees 4 and 6 above the Bassus. The interruption of the cadence is brief as both the G and B-flat resolve as expected to the F-sharp and A, resulting in a D-

M3 triad.

Polyphonic Phrase B: Due to the staggered entry of voices, the textual phrase Perche sempre io vi baci , is repeated in the Cantus, Quintus and Altus before a cadence is reached and this is why the first utterance of the phrase is marked in the table as “No Cadence”. When the first cadence of this polyphonic phrase does occur in bar 7, it is an evaporated cadence because one of the voices, in this case the Bassus, drops out before reaching its expected resolution. The cadence is an example of Turci-Escobar’s first category of evaporated cadences where both structural voices in the dyad resolve as expected but another voice involved in the cadence drops out. The two voices involved in the structural dyad in this cadence are the Tenor and Quintus and they contain a major sixth resolving outward to an octave.

The evaporated cadence in Polyphonic Phrase B is particularly interesting as it gives the aural effect of an Authentic cadence. This is because the Bassus is sustained on scale-degree 5 until the Tenor reaches scale-degree 1, and this results in the aural effect of an ascent from F to B- flat in the Bassus. The staggered entry of voices results in the textual phrase in the Bassus,

Perche sempre io vi baci , occurring two crotchet beats before the beginning of the bar and the utterance of the textual repetition of the phrase in the Cantus. Because of this, the last syllable

61 of the textual phrase occurs as the first beat of the bar which contains the cadence, and there is no further syllable for the Bassus to pronounce if it continues to the B-flat unless it takes the first syllable of the following phrase. Rather than have this interruption at the cadence,

Gesualdo prefers a less disruptive transition which results in the Bassus dropping out and beginning the following phrase with the other voices in homophony.

Polyphonic Phrase C: This is a synechdochic cadence. The cadential gestures that take place include the raised third above the Bassus, which takes place in the Altus, as well as an ascent from scale degree 5 to the octave. This ascent occurs in the Tenor rather than the Bassus.

There is also a textual interruption in the Tenor voice on the final sonority of the cadence, where the first syllable of the following phrase, In , is pronounced whilst the other voices sustain the last syllable, se , of the preceding phrase. This interruption is somewhat diminished by the introduction of the first syllable of the following phrase on a consonant tone, in this case the tonic, D, in the Tenor. A false relation between F and F-sharp does occur immediately after, however, with the ascent from D to F in the Tenor and the introduction of

F in the Quintus. This false-relation juxtaposes the two successive textual phrases.

Polyphonic Phrase D: In this phrase there is a Semiperfect cadence. Voice-crossing occurs with both the Quintus and Altus descending below the Tenor and this is most likely in order to continue the melodic motion of consecutive thirds which occurs at the beginning of the bar. The Altus and Tenor contain the clausula tenorizans and clausula cantizans respectively and these voices resolve outward to an octave.

Polyphonic Phrase A’: This particular cadence is identical to the one in Polyphonic Phrase

A, except that it now occurs in the Cantus, Quintus and Altus.

Polyphonic Phrase B’: Like Polyphonic Phrase B, the staggered entry of voices also prevents a cadence on the first utterance of the phrase, Perche sempre io vi baci . The cadence

62 that occurs in bar 18 is identical to the one in Polyphonic Phrase B, except that it occurs on a different metrical position and therefore the rhythmic notation is altered slightly in the Cantus and Bassus. The different metrical position of the cadence arises from the different order of staggered entries of the voices, resulting in different repetitions of the textual phrase. Most importantly, the Cantus and Bassus begin the repetition of the phrase two beats earlier than their entries in Polyphonic Phrase B and this results in the cadence also occurring two beats earlier. One other slight difference between this cadence and the one in Polyphonic Phrase B is that this cadence is followed by a minim rest in all voices, and due to this there is a distinctive pause between it and the following phrase.

Polyphonic Phrase C’: Unlike the synechdochic cadence in Polyphonic Phrase C, the cadence which occurs in Polyphonic Phrase C’ is a variation on the Authentic cadence. It involves an ascent by perfect fourth in the Bassus, along with a clausula cantizans in the

Tenor but no clausula tenorizans in any of the remaining voices . Rather than descending to the octave or unison as would be expected in a clausula tenorizans , the Quintus instead ascends to B, or scale-degree 3. As discussed in Chapter 1 (section 1.2), this is an alteration to the Authentic Cadence which is common in Gesualdo’s madrigals and is used in order to have the raised third present in one of the voices above the Bassus.

Polyphonic Phrase D’: The cadence which occurs in Polyphonic Phrase D’ is a Semiperfect cadence. A clausula tenorizans occurs in the Bassus and a clausula formales occurs in the

Tenor. This cadence is dovetailed with the introduction of the repetition of the textual phrase,

In voi tutto ripose, in the Cantus, which is then followed by entries of this phrase in the

Quintus and Altus. This dove-tailing is an example of Turci-Escobar’s concept of expressive phrase-overlapping, discussed in detail in Chapter 2 (section 2.5-2.11). In Polyphonic Phrase

D’, the repetition of the line of text, In voi tutto ripose which occurs in the Cantus, contains a chromatic semitone, one of the three techniques of expressive phrase overlapping described

63 by Turci-Escobar. This chromatic semitone which occurs in bar 22, is unusual as it forms a consonant minor tenth with the Bassus, E-flat above C, and so it is not an example of the kind of dissonance that is often associated with the introduction of chromatic semitones for expressive phrase overlapping in the later books of Gesualdo’s madrigals.

Polyphonic Phrase D”: A Semiperfect cadence also occurs in Polyphonic Phrase D’’ which involves the repetition of the textual phrase, In voi tutto ripose . In this cadence the clausula tenorizans occurs in the Tenor forming consecutive descending thirds with the Altus.

Whereas in Polyphonic Phrase D’ the minor third, F above D in the Bassus, ascended to G above C in the Bassus, in Polyphonic Phrase D’’ it descends to E, the major third above C.

Like the cadence in Polyphonic Phrase D’, a clausula formales occurs but this time it is in the

Quintus.

Polyphonic Phrase E: Another Semiperfect cadence occurs in Polyphonic Phrase E, this time with a clausula tenorizans in the Bassus and a clausula cantizans in the Tenor. The

Quintus also involves an ascent from an octave above G in the Bassus to a major tenth, or A, above the Bassus resulting in a major third in the final sonority.

Polyphonic Phrase E’: This polyphonic phrase involves the repetition of the second half of the textual phrase found in Polyphonic Phrase E; ai vostri dolci baci . It contains an Authentic cadence with a clausula basizans in the Bassus, and a clausula cantizans in the Altus. A clausula tenorizans occurs in the Cantus which results in an imperfect interval, the minor third between the Cantus and Altus, resolving to a unison, C. The Tenor, rather than descending from D to C and creating parallel octaves with the Cantus, ascends to E and provides the major third above the Bassus in the final sonority.

Polyphonic Phrase F: Another Authentic cadence occurs in Polyphonic Phrase F, with a clausula basizans in the Tenor, and a clausula formales in the Cantus. Like the Authentic

64 cadence in Polyphonic Phrase C’, there is no clausula tenorizans here because the A in the

Quintus, ascends to B-flat above G in the Tenor rather than descending to the octave. It is particularly noteworthy how the ascent in the Quintus results in a minor-third present in the final sonority rather than the more common major-third. Phrase-overlap also occurs at this cadence with the dove-tailing of the repetition of the textual phrase, La mia vita finire , in the

Altus whilst the last syllable of the preceding phrase, ci , is sustained in the other voices. The introduction of the new textual phrase, La mia vita finire , in the Altus is consonant, beginning on the fifth note, D, above G in the Tenor, but briefly progresses to a dissonant passing note

E, which forms a dissonant tritone with the B-flat in the Quintus. This dissonance is resolved with the ascent to F which forms a perfect fifth above the B-flat in the Bassus and a less dissonant fourth with the B-flat in the Quintus. False-relation also occurs in this example in the Tenor voice with the note B-natural. This false-relation takes place in bar 31 and is striking after hearing B-flat in both the Quintus and Bassus.

Polyphonic Phrase F’: Like Polyphonic Phrase F, this phrase also contains an Authentic cadence. The clausula basizans occurs in the Bassus and the clausula formales in the Altus.

Like Polyphonic Phrase F, there is no clausula tenorizans but this time the Tenor descends by perfect fifth to A rather than completing the ascent by semitone from E to F, the third above

D in the Bassus. This descent of a fifth on the syllables ni-re from finire also occurs in the

Bassus and also in the Tenor in the previous statement of the textual phrase, La mia vita finire , in Polyphonic Phrase F. The slight alteration in rhythm between Tenor and Bassus, a minim and a semibreve in the Tenor and two semibreves in the Bassus, was likely employed by Gesualdo to avoid parallel descending fifths. The cadence also dove-tails into the introduction of the following textual phrase in the Cantus and Quintus and this is consonant, with the Quintus beginning the phrase on the minor third above the Bassus and the Cantus with the fifth above the Bassus.

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Polyphonic Phrase G: Polyphonic Phrase G contains three cadences on the text O che dolce morire , and I have combined these together in a single polyphonic phrase rather than analysing each cadence individually. This is because the first two of these cadences are significantly evaded through the staggered entry of voices, and they therefore do not have the level of polyphonic segmentation required by Mangani to analyse them as individual polyphonic phrases. The first cadence of Polyphonic Phrase G is a Half-Cadence. Here the

Bassus and Tenor form the contrapuntal dyad and progress from an octave to a minor third by contrary motion. This is also the inverse of the contrapuntal motion that would be expected at an Authentic cadence with a perfect consonance now progressing to an imperfect consonance. The Altus descends from E-flat, the minor third above the Bassus, to D, the fifth above the Bassus. The Cantus, which sings the fifth above the Bassus in the penultimate sonority, drops out and, similar to the previous evaporated cadence in Polyphonic Phrase B, this is due to the staggered entry of voices. Both the Cantus and Quintus enter with the textual phrase in bar 32 two crotchets before the Tenor and Altus and pronounce the last syllable of the textual phrase before the completion of the cadence in the Tenor and Altus. This significantly weakens the cadence as the introduction of the repetition of the textual phrase begins in the Quintus with the syllables o che , whilst the Altus and Tenor pronounce the last syllable of the textual phrase, re . This evasion of the cadence through the staggered entry of voices is also exacerbated by the Bassus who begins its utterance of the textual phrase on the penultimate sonority of the cadence. This means that at the ultimate sonority of the cadence, the Bassus is intoning the syllable, dol , from dolce rather than the final syllable of the textual phrase.

The second cadence of Polyphonic Phrase G, in bar 38, is a variation on the Authentic cadence. It is unusual, however, in that it can be analysed as an Evaporated cadence, with the

Cantus dropping out at the final sonority, but there is also a reverse effect where a voice is

66 added at the final sonority. In this case it is the Bassus that is added as it begins the repetition of the textual phrase, o che dolce morire , whilst the Tenor and Altus complete the previous statement of the text with the syllable, re . The clausula formales occurs in the Altus in bar 37 with the notes D-C-sharp-D. The clausula tenorizans is avoided in the Quintus by the ascent from E, on the syllable mo , to F, on the syllable ri . This F in the Quintus is the minor third above the Bassus rather than the octave. The clausula basizans does not occur in any one particular voice, however, it is still perceived aurally through the perfect-fifth relationship between the A in the Tenor and the D in the Bassus. The introduction of the note D in the

Bassus, a perfect fifth below A, helps to achieve this aural perception. Like the previous cadence in Polyphonic Phrase G, the Cantus drops out before the final sonority. This is again due to the staggered entry of voices, as the last syllable of the textual phrase in the Cantus is pronounced at the penultimate sonority of the cadence.

The third cadence of Polyphonic Phrase G is the final cadence of the composition. It is an

Authentic cadence with the clausula formales in the Altus and the clausula basizans in the

Bassus. Like previous cadences in Quanto ha di dolce amore , it avoids the clausula tenorizans, this time with the Quintus ascending to the major third, B-natural, above the

Bassus in the final sonority, rather than descending to the octave, G. The harmonic motion leading to the penultimate sonority at this cadence is of particular interest. Both the Cantus and Bassus sustain the tonic of the penultimate sonority, D, which creates the aural affect of a pedal tone against which the Quintus, and Tenor form consecutive descending sixths before ascending to the tonic and fifth of the penultimate sonority. The expected resolution of the B- flat in the Tenor on the syllable, mo , would be to descend to A, which would double the fifth of the penultimate sonority and complete the motion between the two structural voices of an imperfect to a perfect consonance. In this case, the motion would be from a major sixth to an octave. Instead the Tenor ascends by leap from B-flat to D, forming a triad with the Altus

67 and Quintus voices on the syllable, ri . A possible reason for the ascent, and also for the melodic contour of the Quintus voice, which moves in parallel motion with the Tenor, is to preserve the melodic line from the previous utterance of the words, dolce morire . This is found in the Tenor and Quintus in bar 37-38. The Altus also descends with the Quintus and

Tenor, however, its consecutive motion is altered slightly through the use of quavers on the syllables ce and mo . This is likely in order to avoid a prolonged dissonance on the tritone which occurs between Quintus and Altus on the syllable, ce . Another reason for this rhythmic alteration is in order for the Altus to intone the syllable, ri , one crotchet beat earlier than the

Quintus and Tenor in order to form the suspension of the fourth above the Bassus, in this case the note G, required for the clausula formales at the cadence.

I now turn to my adaptation of Bruno’s second table of cadential analysis (see Table 3.4 below). This lists the sonorities which function as the harmonic resolutions of cadences in each polyphonic phrase. It also provides analysis of the cadences in relation to chordal scale- degrees. These are described both in terms of each individual cadence and its harmonic resolution and also in relation to the overall tonal-centre. In my adaptation of Bruno’s second table of cadential analysis (Table 3.4 below) I make one essential alteration. I do not include analysis of chordal scale-degrees in multiple tonal centres. I instead analyse the scale degrees in relation to each individual cadential harmonic resolution (e.g. each Authentic cadence is analysed with the chordal scale degrees 5-to-1). I do, however, also analyse the chord scale degrees in relation to one overall tonal-centre, and in the case of Quanto ha di dolce amore , this is G-per -bemolle . I have determined this tonal-centre through the key-signature, the final cadence of the composition, and the prevalence of cadences on chordal scale degrees, 1, 3, and 5. I analyse chordal scale degree 6 as E-flat rather than E, and this is because E-flat avoids the tritone interval with scale-degree 3, B-flat. There are also many cadences in the

68 work that make use of E-flat as a chordal scale degree from which the triadic sonority E-flat-

M3 is constructed.

In Table 3.4 I make use of the symbols / and -. The first symbol /, in the context of a figure such as 6/4, indicates that both scale degrees 6 and 4 are present above the Bassus or the lowest sounding voice in the texture. The symbol - indicates melodic motion. An example of this is 6/4-5/#3, which indicates that the sixth and fourth above the Bassus or next lowest voice are descending to 5/#3, or the fifth and raised third. A figure such as 7 4-3-3 demonstrates that a triadic sonority based on chordal scale degree 7 is progressing to another triadic vertical sonority based on chordal scale degree 3. The numbers that appear in superscript are used when there is an alteration to the triadic sonority such as the suspension of the fourth descending to the third. This occurs in this example on the sonority based on chordal scale degree 7. Single chordal scale degree numbers without superscript numbers represent unaltered triadic sonorities with a major third and perfect fifth above the lowest voice. Accidentals are used in the table whenever a note appears that is not part of the key- signature of G-per -bemolle . The accidentals which are present in Quanto ha di dolce amore include E-flat, F-sharp, C-sharp and B-natural.

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Table 3.4: Chordal Scale-Degrees at Cadences in Quanto ha di dolce amore 124

Polyphonic Phrase Harmonic resolution Chordal scale- Chordal scale- of cadences degrees in relation to degrees of cadences each individual referred to overall cadential resolution tonal-centre G-per - bemolle 6/4 -5/#3 A D-M3 b2-16/4 -5/#3 6-5

B B-flat-M3 54-3-1 74-3-3 C D-M3 1#3 -1#3 5#3 -5#3 D G-m3 2#6 -13 2#6 -13 6/4 -5/#3 A’ D-M3 b2-16/4 -5/#3 6-5 B’ B-flat-M3 54-3-1 74-3-3

C’ G-M3 5#3 -1♮3 5#3 -1♮3

b 7- 6 3 D’ C-m3 27-♮6-1 3 5 ♮ -4

D’’ C-M3 2♮6-1 5♮6/ ♮3-4♮3

6 / E F-M3 2 -1 16 3-7

E’ C-M3 5♮3-1 1♮3-4♮3

F G-m3 54-#3 -13 54-#3 -13 F’ D-m3 54-#3 -1 24-#3 -53 b b G G-m3 4 3-13 4 3-13

6/4 -5/#3 D-m3 5 -1 26/4-♮5/#3 -53

G-M3 54-#3-2-#3 -1♮3 54-#3-2-#3 -1♮3

124 This table is adapted from Bruno, Table 2, “A Methodological Approach,” 54.

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Chapter 4

A Harmonic Analysis of Quanto ha di dolce amore

4.1 A Taxonomy of all Cadential and Non-Cadential Triadic Sonorities in Quanto ha di dolce amore

In this chapter I compile a taxonomy of all triadic sonorities, both cadential and non- cadential, that occur in Quanto ha di dolce amore . I focus in particular on the intervallic structure of these triads as well as the chordal scale degrees they are constructed upon in the

Bassus, or lowest sounding voice. The intervallic structure of each of the triads in Quanto ha di dolce amore is presented in the upper staff of Appendix 2 and is adapted from Bruno’s own method of presentation from the third and fourth stages of his methodology. 125 Arabic numerals and figures are used rather than Roman numerals and this helps to differentiate this approach from tonal harmonic analysis. Bruno uses accidentals either before the note name, as in #D to represent a triadic sonority constructed upon D-sharp in the Bassus or lowest sounding voice; or after the note name, such as D #, to represent a D triadic sonority with the raised third, F-sharp. An accidental after the note name always refers to the third of the chord unless otherwise specified. In Appendix 2 the Bassus or lowest sounding voice is presented with note-values but without metric notation. Bar lines are used to represent each polyphonic phrase rather than metric measures. 126 For reference, I have used the letters A-G at the beginning of each bar, and these letters correspond to those used in Table 3 (Chapter 3, 3.2) to identify each polyphonic phrase. I make also make use of a new symbol, –, in the upper staff and this represents a note that is sustained in one voice whilst the others ascend or descend. On the lower-staff of Appendix 2 I present the chordal scale-degrees. Like Table

125 See Bruno, Example 2, “A Methodological Approach,” 60. 126 Bruno, “A Methodological Approach,” 59.

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3.4, (Chapter 3, 3.2) each of the chordal scale-degrees are analysed in relation to the overall tonal-centre of the composition, G-per -bemolle , (written below the notes in the lower staff), as well as the individual cadential resolutions of each polyphonic phrase (written above the notes in the lower staff).

Gesualdo’s use of melodic techniques such as register change and voice-crossing mean that the lowest sounding voice at any given stage of the composition constantly changes, even within a single polyphonic phrase. Due to this, I have compiled the notes from the lowest sounding voice at any given stage of the composition into one melodic line. This line functions as an analytical tool in Appendix 2 and is not designed to represent the melodic material of any one voice in Quanto ha di dolce amore . Its creation is not anachronistic because the goal at this stage of analysis is to present a taxonomy of cadential and non- cadential triads above the lowest sounding voice and not to analyse melodic material. The specific melodic lines of each voice can be found in the transcription of the score in

Appendix 1.

I focus in particular on 5/3 triads in my harmonic analysis of each of Gesualdo’s madrigals.

This is because in most cases these 5/3 triads function as the most structurally significant harmonic sonorities in each work. They most often occur as the final sonorities of cadence points as well as at rhythmically accented syllables in the textual line. Other types of triads, such as the 6/3, frequently occur as passing sonorities between two 5/3 triads and less commonly as penultimate sonorities at cadences.

The 5/3 triads presented in Appendix 2 are ordered below in Table 4.1 in relation to their chordal scale-degrees in the overall tonal centre of G-per -bemolle . Gesualdo makes use of all diatonic 5/3 triads in Quanto ha di dolce amore . I consider E-flat, rather than E-natural as the diatonic chordal scale-degree six, as there are no 5/3 sonorities which contain E-natural in the

72

Bassus or next lowest sounding voice. This is most likely in order to avoid the tritone which would occur between scale-degree three, B-flat, and scale-degree six, E-natural. There are five non-diatonic 5/3 triads used in Quanto ha di dolce amore and these are C-M3, D-M3, A-

M3, A-m3 and G-M3. Four of these involve the chromatic note E-natural which occurs as a raised third in C-M3 and a natural fifth in A-m3 and A-M3. Non-diatonic 5/3 triads D-M3, A-

M3 and G-M3 involve accidentals and these are F-sharp, C-sharp and B-natural. Each of these chromatic notes are used as raised thirds in these triads, most often at the penultimate or final sonority of a cadence. Non-diatonic 5/3 triads appear more frequently in the later books of Gesualdo’s madrigals and contribute largely to the amount of chromaticism present in those works.

Table 4.1: Ordered chordal scale degrees and their corresponding triadic sonorities in Quanto ha di dolce amore in relation to the overall tonal centre G-per -bemolle

Chordal Scale 1 1♮ 2 2# 3 4 4♮ 5 5# 6 7 Degrees in G- per -bequadro

Corresponding G-m3 G-M3 A-m3 A-M3 B-flat- C- C-M3 D-m3 D-M3 E- F-M3 Triadic M3 m3 flat- Sonorities M3

4.2 The Most Structurally Important Triadic Sonorities in Quanto ha di dolce amore

The most structurally important triadic sonorities in Quanto ha di dolce amore occur at cadences as well as incipit sonorities of particular polyphonic phrases. Incipit sonorities are those sonorities that occur on the first beat of a polyphonic phrase. I consider the incipit sonorities of polyphonic phrases as structural when at least three voices are involved and form a complete triad. Polyphonic and textual segmentation is also required at these incipit sonorities in order for them to be considered structural, and in determining this polyphonic

73 and textual segmentation I apply Mangani’s criteria, identified above in Chapter 3. 127 The structural incipit sonorities in Quanto ha di dolce amore occur in polyphonic phrases C, C’, E and E’ and each involve the full five-voice texture as well as simultaneity in text-setting. 128 In

Appendix 3 I present the most structural triadic sonorities in Quanto ha di dolce amore as chordal-scale degrees below the Bassus or lowest sounding voice. I analyse these chordal scale-degrees in relation to the overall tonal centre of G-per -bemolle , and this is in order to determine which structural sonorities are used by Gesualdo in the compositional outline of the overall tonal centre.

Table 4.3 below is based on Bruno’s study of the interaction between form and harmony presented in Stage 7 of his analysis. 129 In this table I further abstract the harmonic motion presented in Appendix 2 and 3, and include only the points of greatest harmonic structural significance in Quanto ha di dolce amore . I have determined that these occur at the points of greatest polyphonic and textual segmentation such as the final sonorities at cadences, and the incipit sonorities in polyphonic phrases C, C’, E and E’. I do not include penultimate sonorities at cadences in this table because they do not function as points of harmonic resolution, but instead progress to the final sonorities. In Table 4.3 I group the sonorities into the largest formal units discussed by Bruno, the polyphonic sections. Polyphonic section 1 consists of polyphonic phrases A, B, C and D as well as their repetitions, A’, B’, C’, D’, and

D’’. Polyphonic section 2 consists of the remaining polyphonic phrases E, E’, F, F’, and G.

127 See Chapter 3, 3-6. 128 See Appendix 1, bars 7, 18 and 25. 129 See Bruno, “A Methodological Approach,” 66-69.

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Table 4.3: The most structurally significant triadic sonorities in Quanto ha di dolce amore organised in polyphonic sections

Polyphonic Section One

Polyphonic Phrase Chordal Scale-Degrees Triadic Sonorities A 5# D-M3 B 3 B-flat-M3 C 6, 5# E-flat-M3, D-M3 D 1 G-with-m3 A’ 5# D-M3 B’ 3 B-flat-M3 C’ 6, 1♮ E-flat-M3, G-M3 D’ 4 C-m3 D’’ 4♮ C-M3

Polyphonic Section Two

Polyphonic Phrase Chordal Scale-Degrees Triadic Sonorities E 7, 7 F-M3, F-M3 6/3 E’ 36,4♮ A , C-M3 F 1 G-m3 F’ 5 D-m3 G 1, 5, 1 ♮ G-m3, D-m3, G-M3

By presenting the most structurally significant triadic sonorities in relation to the largest formal unit, the polyphonic section, large-scale relationships between form and harmony in

Quanto ha di dolce amore can be determined. In particular the relationship between the overall tonal centre and how it is outlined through the most structural triadic sonorities in the composition. Table 4.3 below establishes that there are a majority of cadential resolutions in

Quanto ha di dolce amore to scale-degrees 1, 3 and 5 of G-per -bemolle . This along with the key-signature validates my reading of G-per -bemolle as the overall tonal centre. The analysis in this stage also demonstrates the diatonic approach to harmony that Gesualdo makes use of in Quanto ha di dolce amore . There are very few non-diatonic structurally important triads and none that are constructed upon chromatic notes in the lowest sounding voice. The only

75 chromatic notes in the composition, or notes that do not occur in the key-signature, are E-flat,

F-sharp, C-sharp, and B-natural. E-flat is used to avoid the tritone with B-flat, whilst the remaining chromatic notes, F-sharp, C-sharp, and B-natural all function as the raised third in triadic sonorities, D-M3, A-M3 and G-M3. In my chosen madrigals from Books II and III, In più leggiadro velo , and Dolce spirto d’amore , Gesualdo also limits his use of chromatic notes to E-flat, F-sharp, C-sharp and B-natural. The restriction of chromaticism in Gesualdo’s early books of madrigals demonstrates a more diatonic approach to harmony, which is in stark contrast to his later works in Books IV, V and VI. In the following chapters I apply the stages of analysis set out in Chapter 3 and 4 to the five remaining madrigals of my chosen repertory:

In più leggiadro velo (Book II), Dolce spirto d’amore (Book III), Io tacerὸ, ma nel silenzio mio (Book IV), Itene o miei sospiri (Book V), and Moro lasso, al mio duolo (Book VI). I deal with the first three madrigals in Chapter 5 and then the remaining two in Chapter 6.

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Chapter 5

Analysis of Madrigals from Books II-IV

5.1 Analysis of In più leggiadro velo

5.1.1 Formal Units in In più leggiadro velo

Table 5.1 below presents the text of In più leggiadro velo , comprising seven lines, each with a corresponding letter from A to G. The table is arranged in the same manner as Table 3.1, in

Chapter 3 above, with the left-hand side presenting the original text, and the right-hand side demonstrating Gesualdo’s use of sinalefe to condense each of the lines into seven or eleven syllables. Hyphens are included on the right-hand side of the table between multi-syllabic words and they demonstrate where the syllables occur. Gesualdo makes use of an anonymous text in In più leggiadro velo . There is a marked increase in anonymous texts from his first to his second book of madrigals. Whilst texts from the well-known writers Giovanni Battista

Guarini (1538-1612), Torquato Tasso (1544-1595), and Alfonso d’Avalos (1502-1546) are still used by Gesualdo in his second book, there are ten madrigals with anonymous texts, in comparison to just one in his first book.

Table 5.1: Textual organisation and use of sinalefe in In più leggiadro velo

Original Line of Text Number of Syllables Line of Text as it Appears with Sinalefe

A: In più leggiadro velo (7 syllables) In più leg-gia-dro ve-lo

B: che non fra nubi il cielo (8 reduced to 7 syllables) Che non fra nu-bi’l cie-lo

130 C: madonna il suo bel viso discoperse, (13 reduced to 11 syllables) Ma-don-na’l suo bel vi-so di-sco-per-se,

D: onde un raggio discese (8 reduced to 7 syllables) On-de’n rag-gio di-sce-se

E: che gli occhi e’l cor m’accesse. (9 reduced to 7 syllables) Che gl’oc-chi’l cor ma-cce-se.

130 Eleven rather than twelve syllables occur because the word suo is elided into one syllable in Gesualdo’s setting and is pronounced swo . 77

F: Amor, deh, che in quel punto (8 reduced to 7 syllables) A-mor, deh, che’n quel pun-to

G: non so se il cor fu pria degli occhi punto. (14 reduced to 11 syllables) Non so se’l cor fu pri’ de-gl’oc-chi pun-to.

Table 5.2 organises the lines of text into formal units of polyphonic segmentation. These are the polyphonic section, period and phrase. There are fifteen polyphonic phrases in the madrigal and these are organised into two polyphonic sections. Polyphonic section 1 incorporates the first five lines of text, A, B, C, D and E along with their repeated periods.

Polyphonic section 2 involves the remaining two textual lines, F and G, and their repeated period and double periods. In almost all cases the polyphonic phrases correspond to one line of text, however, the final polyphonic phrase in polyphonic section one incorporates both textual lines D and E along with their repetitions (D, D and E, E). There are seven repeated periods and these involve lines A, D, E, F and G. There is also a double period which occurs with lines F and G and this incorporates the repeated periods associated with these lines.

Table 5.2: Diagram of Textual and Polyphonic Segmentation in In più leggiadro velo

In più leggiadro velo

Polyphonic Section 1 Polyphonic Section 2

Double Period

P P P P P P P P P P P P P P P

(A, A) B, C, (D, D) (E, E) (F, F) (G, G, G) (F, F) (G, G, G)

Repeated Periods Repeated Periods

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5.1.2 A Cadential Analysis of In più leggiadro velo

In Table 5.3 below I list the cadences that correspond to each polyphonic phrase in In più leggiadro velo . Like Table 3.3 from Chapter 3, 3.2, I include the corresponding letter, from

A-G, for each polyphonic phrase along with the text that is set. An apostrophe next to a letter, such as A’, represents that the line of text has been repeated. The number of apostrophes, such as G’ or G’’’, represents how many times it has been repeated, with G’ representing the first repetition of the line and G’’’ the third repetition. I do not include E in my lettering of the polyphonic phrases and instead move straight from D to F. This is because polyphonic phrase D contains textual lines D and E. I also make note of each specific cadence type in

Table 5.3 along with the melodic scale-degree motion that occurs in each voice. I do not list the melodic-scale degree motion in the table but instead reference the bar numbers in

Appendix 6 where these scale-degrees are recorded. Of particular note is Polyphonic Phrase F where two cadences occur. The first of these is between bars 17-18 and the second in bars 18-

19.

Table 5.3 Cadential structures in In più leggiadro velo

Polyphonic Phrase Poetic Text Bar Numbers from Cadence Type Appendix 4 that contain the Melodic Scale-Degree Motion A In più leggiadro velo Bar 2 Clausula formales in the lowest sounding voice A’ In più leggiadro velo Bars 4-5 Authentic B Che non fra nubi il cielo Bar 7 Authentic C Madonna il suo bel viso Bar 10 Authentic discoperse, D Onde un raggio discese No Cadence Onde un raggio discese No Cadence Che gli occhi e’l cor No Cadence

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m’accesse. Che gli occhi e’l cor Bar 17 Authentic/Evaporated m’accesse. F Amor, deh, che in quel Bars 17-18 and 18-19 Phrygian, Altered punto Repeated F’ Deh, che in quel punto Bar 19 Repeated

G Non so se il cor fu pria Bar 22 Interrupted degli occhi punto Semiperfect G’ Non so se il cor fu pria Bars 25-26 Authentic degli occhi punto G’’ Non so se il cor fu pria Bar 28 Authentic degli occhi punto F’’ Deh, che in quel punto Bar 29 Repeated

F’’’ Deh, che in quel punto Bar 30 Repeated

G’’’ Non so se il cor fu pria Bar 33 Interrupted degli occhi punto Semiperfect G’’’’ Non so se il cor fu pria Bar 36 Authentic degli occhi punto G’’’’’ Non so se il cor fu pria Bar 39 Authentic degli occhi punto

Polyphonic Phrase A: This cadence is unusual in that clausula formales occurs in the lowest sounding voice. There is no clausula basizans and a clausula tenorizans is avoided in the

Bassus with the ascent from scale-degrees 2-3, or C-D, providing the major third interval above B-flat in the Altus. This particular cadence type is not discussed by Meier, Turci-

Escobar or La Via and therefore is not defined in previous Chapters 1 or 2. Due to this I have chosen to refer to the cadence type with my own definition of clausula formales in the lowest sounding voice.

Polyphonic Phrase A’: An Authentic cadence occurs here and there is simultaneity of text- setting in all voices except the Bassus. It begins the second line of text, Che non fra nubi il cielo , on the second minim of the preceding bar (bar 4 in Appendix 6) and so pronounces non

80 when the remaining voices pronounce lo . This second line of text is also introduced in the

Cantus and Quintus on the second crotchet beat in bar 5, and this along with the Bassus contributes to cadential attenuation.

Polyphonic Phrase B: Another Authentic cadence occurs in this polyphonic phrase. The

Altus is written below the Tenor. This originates from voice-crossing which occurs in bar 2 where the Altus pronounces the syllable, ve , and the Tenor, gia . The entry of the following line of text, Madonna il suo bel viso discoperse , immediately after the cadence, weakens the perception of polyphonic segmentation and contributes to cadential attenuation between

Polyphonic Phrases B and C.

Polyphonic Phrase C: A third Authentic cadence occurs in this polyphonic phrase. The melodic contour of the Altus is noteworthy because it leaps by large intervals of the fifth and octave before descending to the major third, F-sharp above D in the Bassus. Cadential attenuation occurs in this polyphonic phrase as the following line of text, Onde un raggio discese , is pronounced in the Tenor whilst the remaining voices sustain the last syllable, se , of the preceding line.

Polyphonic Phrase D: In this polyphonic phrase textual lines D and E are combined. Due to the staggered entry of voices, no cadences occur with line D or its repetition. Likewise, there is no cadence the first time through line E, che gli occhi e’l cor m’accese . Instead the cadence occurs with the repetition of this line and it is an Authentic but also an evaporated cadence.

Due to the staggered entry of voices, the Tenor drops out before completing the cadence and it pronounces the last syllable of the textual line on the penultimate sonority. The other voices, however, complete the Authentic cadence, with the clausula basizans in the Bassus and the clausula formales in the Quintus.

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Polyphonic Phrase F: The first cadence in this polyphonic phrase occurs with the word,

Amor , and is a Phrygian cadence. The second cadence occurs at the end of the textual line with the word punto . I refer to this cadence type as an altered repeated cadence because there is an almost exact repetition from the penultimate to the final sonority. The only alteration occurs in the Tenor where the sixth, A above C in the lowest sounding voice (the Altus), descends to the fifth, G. This takes place between bars 18 and 19. Like the cadence in

Polyphonic Phrase A, this particular cadence type is not discussed by Meier, Turci-Escobar or La Via and therefore I make use of my own definition of the altered repeated cadence.

Polyphonic Phrase F’: A repeated cadence takes place in this polyphonic phrase on the word punto . Both the penultimate and final sonorities in the cadence are identical, a D-M3 triad.

Consonant phrase-overlapping occurs in this cadence with the entry of the following polyphonic phrase in the Cantus. Polyphonic phrase G begins in this voice with the octave D, above the Bassus. It should also be noted that whilst the harmonic progression between the words quel and syllable pun resembles a Phrygian cadence, the repeated cadence on the word punto is instead the final cadence of the polyphonic phrase as it occurs on the last word and syllables of the textual line.

Polyphonic Phrase G: In this polyphonic phrase an interrupted Semiperfect cadence occurs.

The clausula tenorizans is in the Altus; however, no clausula formales occurs in any voice.

Instead the Quintus descends in parallel thirds with the Altus, with F and D descending to E and C. The F is sustained over the C in the Altus before descending and this results in a 4-3 suspension. The interruption occurs in the Cantus with the F ascending by third to A to form a six-four sonority with the Quintus above C in the Altus. This ascent to A is instead of the expected resolution of ascent by tone to G, the fifth above C. The descent from A to G in the

Cantus occurs simultaneously with E in the Quintus, resolving the 6/4 to a 5/3 sonority above

C in the Altus.

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Polyphonic Phrase G’: Another Authentic cadence occurs in this polyphonic phrase.

Consonant phrase-overlapping occurs in the Quintus with the entry of Polyphonic Phrase G’’

(the repetition of the textual line) on the octave G above the Bassus in the penultimate sonority. Consonant phrase-overlapping also occurs in the Cantus in the final sonority, with the octave C above the Bassus. Cadential attenuation takes place with both instances of phrase-overlap and also with the immediate progression in the Bassus, Tenor and Altus from the final sonority of the cadence to the preceding repetition of the textual line on the second crotchet beat of bar 26.

Polyphonic Phrase G’’: This polyphonic phrase also involves an Authentic cadence.

Polyphonic Phrase F’’: A repeated cadence occurs in here with an F-M3 triadic sonority in all voices except the Bassus. This is another example of cadential attenuation as the final cadential resolution is somewhat interrupted in the Bassus, Tenor, Altus and Quintus by the introduction of the first word, deh , from Polyphonic phase F’’’. This takes place on the last crotchet beat of bar 29.

Polyphonic Phrase F’’’: The cadence in this polyphonic phrase is identical to the one in

Polyphonic Phrase F’.

Polyphonic Phrase G’’’: This cadence is similar to the one in Polyphonic Phrase G and is an interrupted Semiperfect cadence. The interruption takes place in the Cantus where the sixth,

A, is introduced above C in the Altus which results in a 6/4 sonority. This sonority then resolves to a 5/3 above C on the second minim beat of bar 33.

Polyphonic Phrase G’’’’: This cadence is identical to that in Polyphonic Phrase G’.

Polyphonic Phrase G’’’’’: The final cadence of the composition is an Authentic cadence.

False-relation occurs between B-flat in the Tenor and B-natural in the Quintus, and the B-flat

83 which occurs as a quaver on the second crotchet beat of bar 39 forms a dissonant augmented fifth interval with the F-sharp in the Altus. Both of these voices progress in the following quaver to a consonant major third interval, C and E, before ascending by consecutive major- thirds to D and F-sharp, the octave and the major third above the Bassus in the penultimate sonority.

Table 5.4 below lists the harmonic resolutions of all cadences in each of the polyphonic phrases of In più leggiadro velo . It also includes the chordal scale-degrees of the penultimate and final sonorities of each cadence in relation to each individual cadential resolution, but also the overall-tonal centre of G-per -bemolle . As in my analysis of Quanto ha di dolce amore , I have determined G-per -bemolle as the tonal centre of this work through the key- signature, the final cadence and the prevalence of cadences on chordal scale-degrees 1, 3 and

5. I also consider chordal scale-degree 6 to be E-flat, rather than E-natural. There is a prevalence of cadential resolutions to C-M3 in In più leggiadro velo which could suggest E- natural as chordal scale-degree 6, however, I believe these resolutions are simply in order to have the major third above the Bassus in the final sonority of the cadence.

Table 5.4: Chordal Scale-Degrees at Cadences in In più leggiadro velo

Polyphonic Phrase Harmonic resolution of Chordal scale-degrees Chordal scale-degrees cadences in relation to each of cadences referred to individual cadential overall tonal-centre G- resolution per-bemolle A B-flat-M3 76-1 26-3 A’ B-flat-M3 54-3-1 74-3-3

B C-M3 54-♮3-1 14-♮3-4

#3 #3 C D-M3 5 -1 2#3/ ♮5-5#3

D B-flat-M3 54-3-1 74-3-3 #3 6 F A-M3, C-M3 b7-6 , 1 -1 3-2#3/ ♮5, 4 ♮3/6 -4♮3

F’ D-M3 1#3 -1#3 5#3 -5#3

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6/4 -5/3 G C-M3 2-1 5-46/4-5/ ♮3

4-3 G’ C-M3 5 -1 14-♮3-4♮3

#3 G’’ G-M3 5 -1 5#3 -1♮3

F’’ F-M3 1-1 7-7 F’’’ D-M3 1#3 -1#3 5#3 -5#3 6/4 -5/3 G’’’ C-M3 2-1 5-46/4-5/ ♮3

4-3 G’’’’ C-M3 5 -1 14-♮3-4♮3

G’’’’’ G-M3 5#3 -1♮3 5#3 -1♮3

5.1.3 A Taxonomy of all Cadential and Non-Cadential Triadic Sonorities in In più leggiadro velo

This taxonomy is presented in Appendix 5. Like the previous analysis of Quanto ha di dolce amore , demonstrated in Appendix 2 and discussed in Chapter 4, 4.1, the upper staff presents the intervallic structure of each triad, and the lower staff records the chordal scale-degrees, both in relation to the individual cadential resolutions of each polyphonic phrase and also the overall tonal-centre of G-per -bemolle . Each of the polyphonic phrases are listed with their corresponding letters, A-G from table 5.4 above. All symbols made use of in the upper and lower staves correspond with those in the previous taxonomy of cadential and non-cadential triads in Quanto ha di dolce amore , found in Appendix 3.

Table 5.5 below presents 5/3 triads from Appendix 5 ordered in relation to their chordal scale-degrees from the overall tonal-centre of G-per -bemolle . Both chordal scale-degrees 2 and 2 # have natural fifths and these are non-diatonic because E-flat rather than E functions as chordal scale-degree six in the overall tonal centre. This is why I have included the symbol ♮5 in Table 5.4 and 5.5 as well as Appendix 5. In other examples it would be unnecessary to specify the fifth as natural as this is understood in a five-three triadic sonority. Gesualdo

85 makes use of all diatonic 5/3 triads in In più leggiadro velo . These are G-m3, B-flat-M3, C- m3, D-m3, E-flat-M3 and F-M3. Five non-diatonic triads occur and these are G-M3, A-m3,

A-M3, C-M3 and D-M3. I consider A-m3 as non-diatonic because it includes the natural-fifth rather than the flattened-fifth, E-flat. The remaining non-diatonic triads make use of the raised-third, most often at the penultimate or final sonorities of cadences.

Table 5.5: Ordered chordal scale degrees and their corresponding triadic sonorities in In più leggiadro velo in relation to the overall tonal centre G-per -bemolle

5 Chordal Scale 1 5 3 4 5 # 6 7 1♮ 2♮ 2#♮ 4♮ 5 Degrees in G- per -bemolle

Corresponding G-m3 G-M3 A-m3 A-M3 B-flat- C- C-M3 D-m3 D-M3 E- F-M3 Triadic M3 m3 flat- Sonorities M3

5.1.4 The Most Structural Triadic Sonorities in In più leggiadro velo

The most structural triadic sonorities in In più leggiadro velo occur at cadences as well as incipit sonorities of particular polyphonic phrases. Like my previous analysis of Quanto ha di dolce amore, I consider the incipit sonorities of polyphonic phrases in In più leggiadro velo as structural when at least three voices are involved and form a complete triad. The incipit sonorities also require appropriate polyphonic and textual segmentation in order to be considered structural. I have determined this segmentation with Mangani’s criteria which I discuss in Chapter 3 above. Structural incipit sonorities occur in Polyphonic Phrase F, F’, F’’ and F’’’ in In più leggiadro velo , and involve a four-voice texture, except for the incipit sonority in Polyphonic Phrase F which makes use of the full five voices. Appendix 8 presents the structural triadic sonorities in In più leggiadro velo with chordal-scale degrees below the

Bassus or lowest sounding voice. The chordal scale-degrees are analysed in relation to the overall tonal centre of G-per -bemolle . In Table 5.6 below I further abstract the harmonic

86 motion presented in Appendix 6 and include only the points of greatest harmonic structural significance in In più leggiadro velo . These occur at the final sonorities at cadences and the incipit sonorities in polyphonic phrases F, F’, F’’ and F’’’. They do not, however, include the penultimate sonorities at cadences. This is because penultimate sonorities do not function as points of harmonic resolution, but instead progress to final sonorities at cadences. Table 5.6 presents the most structurally significant triadic sonorities grouped in polyphonic sections and these sections correspond with those outlined in Table 5.2 above.

Table 5.6: The most structurally significant triadic sonorities in In più leggiadro velo organised in polyphonic sections

Polyphonic Section One

Polyphonic Phrase Chordal Scale-Degrees Triadic Sonorities A 3 B-flat-M3 A’ 3 B-flat-M3 B 4♮ C-M3 C 5# D-M3 D 3 B-flat-M3

Polyphonic Section Two

Polyphonic Phrase Chordal Scale-Degrees Triadic Sonorities 5 F 2#♮ , 7, 4 ♮ A-M3, F-M3, C-M3 5 F’ 2♮ , 5 # A-m3, D-M3 G 4♮ C-M3 G’ 4♮ C-M3 G’’ 1♮ G-M3 F’’ 3, 7 B-flat-M3, F-M3 5 F’’’ 2♮ , 5 # A-m3, D-M3 G’’’ 4♮ C-M3 G’’’’ 4♮ C-M3 G’’’’’ 1♮ G-M3

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5.2 Analysis of Dolce spirto d’amore

5.2.1 Formal Units in Dolce spirto d’amore

Table 5.7 presents the original text of Dolce spirto d’amore as well as Gesualdo’s setting.

The technique of sinalefe is only used by Gesualdo in lines C and D, which are both reduced to seven syllables. The text of Dolce spirto d’amore is an excerpt from Guarini’s Il pastor fido (The Faithful Shepherd). 131

Table 5.7: Textual organisation and use of sinalefe in Dolce spirto d’amore

Original Line of Text Number of Syllables Line of Text as it Appears with Sinalefe

A: Dolce spirto d’amore (7 syllables) Dol-ce spir-to d’A-mo-re

B: in un sospir accolto. (7 syllables) In un sos-pir ac-col-to!

C: Mentre io miro il bel volto, (10 reduced to 7 syllables) Men-tr’io mi-ro’l bel vol-to

D: spira vita al mio core. (9 reduced to 7 syllables) Spi-ra vi-ta’l mio co-re;

E: Tal aquista valore (7 syllables) Tal a-quis-ta va-lo-re

F: da quella bella bocca (7 syllables) Da que-lla be-lla boc-ca

G: che sospirando tocca. (7 syllables) Che sos-pir-an-do toc-ca.

Table 5.8 below organises Gesualdo’s setting of the text into formal units. There are two polyphonic sections in this madrigal. The first contains lines A – D and their repeated and double periods. The second polyphonic section involves lines E –G and their repeated and double periods. There is an extensive use of repetition in this madrigal, with six repeated periods, involving lines B, F and G, as well as six double periods, with lines A, B, F and G.

There are sixteen polyphonic phrases almost all of which correspond with one line of text or a line of text with its immediate repetition. Polyphonic phrase six is the only exception to this and it instead incorporates both lines C and D and their repetitions.

131 See Guarini, Il pastor fido. 88

Table 5.8: Diagram of Textual and Polyphonic Segmentation in Dolce spirto d’amore

Dolce spirto d’Amore

Polyphonic Section 1 Polyphonic Section 2

Double Periods Double Period

P P P P P P P P P P P P P P P P

A, (B, B) A, (B, B) C, D, C, D E, (F, F) (G, G) (F, F) (G, G, G,)

Repeated Periods Repeated Periods

5.2.2 A Cadential Analysis of Dolce spirto d’amore

Table 5.9 lists the cadences that correspond with each polyphonic phrase in Dolce spirto d’amore . I do not include D in my lettering of the polyphonic phrases but instead move straight from C to E. This is because polyphonic phrase C contains textual lines C and D. The specific cadences in each polyphonic phrase are discussed in detail below this table.

Table 5.9 Cadential structures in Dolce spirto d’amore

Polyphonic Phrase Poetic Text Bar Numbers from Appendix Cadence Type 7 that contain the Melodic Scale-Degree Motion A Dolce spirto d’amore Bar 2 Altered Repeated B In un sospir accolto. Bar 3 Phrygian B’ In un sospir accolto. Bar 4 Semiperfect A’ Dolce spirto d’amore Bar 5-6 Phrygian

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B’’ In un sospir accolto. No Cadence In un sospir accolto. Bar 8 Authentic C Mentre io miro il bel volto, No Cadence Spira vita al mio core. No Cadence Mentre io miro il bel volto, No Cadence Spira vita al mio core. Bar 15-16 Authentic E Tal aquista valore Bar 17-18 Authentic F Da quella bella bocca Bar 20 Interrupted Semiperfect F’ Da quella bella bocca Bar 23 Interrupted Phrygian G Che sospirando tocca. Bar 25 Imperfect G’ Che sospirando tocca. Bar 28-29 Authentic

F’’ Da quella bella bocca Bar 31 Interrupted Semiperfect F’’’ Da quella bella bocca Bar 33-34 Interrupted Phrygian G’’ Che sospirando tocca. Bar 36 Imperfect G’’’ Che sospirando tocca. Bar 39-40 Authentic G’’’’ Che sospirando tocca. Bar 42 Authentic

Polyphonic Phrase A: This cadence is an altered repeated cadence. Both the penultimate and final sonorities are almost identical and there is repetition in all voices except the Altus, which descends from the sixth above the Bassus to the fifth, F-E. This results in a 6/3 triadic sonority on A resolving to a 5/3 on A-m3. There is also an example of consonant phrase- overlapping with introduction of Polyphonic Phrase B in the Tenor on C, a third above the

Bassus. This takes place whilst the remaining voices sustain the notes from the final harmony of the preceding Polyphonic Phrase A.

Polyphonic Phrase B: A Phrygian cadence occurs in this polyphonic phrase. Consonant phrase-overlapping occurs with the introduction of the following Polyphonic Phrase B’ in the

Cantus on the note A, a fifth above the Bassus.

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Polyphonic Phrase B’: A Semiperfect cadence takes place here. There is significant polyphonic segmentation as the final harmony is followed by rests before the following polyphonic phrase begins. This is in contrast to the preceding polyphonic phrases which made use of cadential attenuation through phrase-overlapping. It is also noteworthy that the final sonority in this cadence does not contain the major third above B-flat in the Altus but instead only the fifth, F, and octave, B-flat.

Polyphonic Phrase A’: Another altered repeated cadence occurs in this polyphonic phrase. It is almost identical to the cadence which occurs in Polyphonic Phrase A, but instead transposed a fifth below to D. Unlike Polyphonic Phrase A, all five voices are involved in the cadence with the Tenor present an octave above the Bassus on the note D. The Altus is the only voice that does not repeat and instead descends from the sixth above the Bassus to the fifth, B-flat to A. This results in a 6/3 to 5/3 resolution above D in the Bassus.

Polyphonic Phrase B’’: Whilst the first utterance of the text in this polyphonic phrase appears to form a Semiperfect cadence in bar 7, it is significantly evaded. Only the Cantus and Altus pronounce the final syllable of the textual line together ( to from the word accolto) .

The Quintus drops out before the cadence has been completed and this is because it has pronounced the last syllable of the textual line one crotchet beat earlier. The Tenor also enters with the repetition of the line of text and its first syllable, in , at the same time that the Cantus and Altus pronounce to , and this further evades the cadence. For this reason it does not meet

Mangani’s criteria of polyphonic and textual segmentation and so I have considered no cadence to occur. An Authentic cadence does take place, however, in bar 8 at the end of the repetition of the textual line.

Polyphonic Phrase C: This polyphonic phrase combines both textual lines C and D. No cadence occurs with line C or with the first presentation of line D. Instead and Authentic

91 cadence takes place with the repetition of line D and on the final word of the textual line, core .

Polyphonic Phrase E: Another Authentic cadence takes place in this polyphonic phrase. The

Cantus does not pronounce the final syllable, re , with the remaining voices but instead sustains the previous syllable, lo , and then descends to the major third above the final sonority one crotchet beat later. This somewhat weakens the cadential resolution.

Polyphonic Phrase F: An interrupted Semiperfect cadence takes place here. The interruption occurs in both the Cantus and Altus voices, the first of which sustains the fourth, B-flat, above F in the Tenor. This results in a suspension of the fourth. The Altus ascends to the sixth above F in the Tenor, D. Together these voices form a 6/4 sonority which then resolves to a

5/3 on the final crotchet beat of bar 20.

Polyphonic Phrase F’: This cadence resembles the previous from Polyphonic Phrase F, except that it is an interrupted Phrygian rather than an interrupted Semiperfect cadence. The interruptions occur in the Tenor and Quintus voices and like the cadence in Polyphonic

Phrase F, they involve a 6/4 sonority, this time above D in the Bassus, resolving to a 5/3. This resolution occurs on the second crotchet beat of bar 23. Consonant phrase-overlapping also occurs in this cadence with the Cantus pronouncing the first syllable of the following polyphonic phrase, che , on D two octaves above the Bassus. Again this occurs on the second crotchet beat of bar 23, whilst the remaining voices complete the cadence of the preceding polyphonic phrase.

Polyphonic Phrase G: An imperfect cadence occurs here. It is heavily evaded by both the

Cantus and Quintus who pronounce the syllables ran and so respectively above the final syllable of the textual line, ca , in the remaining Altus, Tenor and Bassus. I have considered this cadence as structural despite the lack of simultaneity of text-setting in all voices as

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Mangani has noted in his criteria that this simultaneity of text-setting only needs to occur in three-voices for there to be significant polyphonic and textual segmentation. The clausula basizans ascends by perfect fifth rather than descending and this is why an imperfect rather than an Authentic cadence occurs. An unexpected clausula formales occurs in the Tenor with a 7-6 suspension resolving to the major third, A, above F in the Bassus.

Polyphonic Phrase G’: This polyphonic phrase involves an Authentic cadence. Of particular note is the 7-6 suspension which occurs in the Tenor with C – B-flat, above D in the Bassus.

This B-flat results in false-relation with the B-natural above G in the final sonority of the cadence. Direct chromaticism almost occurs here in the Tenor voice; however, instead the B- flat descends to the fifth, A above D, before ascending to the major-third, B above G.

Polyphonic Phrase F’’, F’’’, G’’ and G’’’: All four of these cadences are identical to their counterparts in Polyphonic Phrases F, F’, G and G’. This is because there is a complete repetition of all musical material from the second minim beat of bar 18 to the first minim beat of bar 40.

Polyphonic Phrase G”’’: The final cadence of this composition is an Authentic cadence.

Table 5.10 below lists the harmonic resolutions of the cadences in each polyphonic phrases of

Dolce spirto d’amore . The chordal scale-degrees are also recorded in relation to each cadential resolution as well as the overall tonal centre of F-per -bemolle . The tonal centre of this madrigal was more difficult to determine than the previous two madrigals, Quanto ha di dolce amore and In più leggiadro velo as there was not a prevalence of cadential resolutions to chordal scale-degrees one, three and five but instead to one and six, in relation to F-per - bemolle . In determining the overall tonal-centre, I have instead considered the key-signature, the final cadential resolution and also the opening triadic sonority, an F-M3 triad which occurs in four of the five voices on the first beat of the composition.

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Table 5.10: Chordal Scale-Degrees at Cadences in Dolce spirto d’amore

Polyphonic Phrase Harmonic resolution of Chordal scale-degrees Chordal scale-degrees cadences in relation to each of cadences referred to individual cadential overall tonal-centre F- resolution per-bemolle A A-m3 16-1 36-3 B D-m3 b27-6-1 b77-6-6 7-6 B’ B-flat-without-third 2 -1 5b3/7-6-4

A’ D-m3 16-1 66-6 B’’ D-M3 54-#3 -1#3 34-#3 -6#3

C C-M3 54-♮3-1 24-♮3-5

E B-flat-M3 5-1 1-4 F F-M3 27/3 -6/4 -16/4 -5/3 27/3 -6/4 -16/4 -5/3 F’ D-m3 b27/3 -6/4 -16/4 -5/3 b77/3 -6/4 -66/4 -5/3 G F-M3 47-6-1 47-6-1

G’ G-M3 56/4-5/#3 -1♮3 66/4-5/#3 -2♮3

F’’ F-M3 27/3 -6/4 -16/4 -5/3 27/3 -6/4 -16/4 -5/3 F’’’ D-m3 b27/3 -6/4 -16/4 -5/3 b77/3 -6/4 -66/4 -5/3 G’’ F-M3 47-6-1 47-6-1

G’’’ G-M3 56/4-5/#3 -1♮3 66/4-5/#3 -2♮3

G’’’’ F-M3 54-3-1 54-3-1

5.2.3 A Taxonomy of all Cadential and Non-Cadential Triadic Sonorities in Dolce spirto d’amore

The taxonomy of cadential and non-cadential triadic sonorities in Dolce spirto d’amore is presented in Appendix 8. Each polyphonic phrase is listed with its corresponding letter from

A-G. The upper staff presents the intervallic structure of each triad, and the lower staff records the chordal scale-degrees, both in relation to the individual cadential resolutions of each polyphonic phrase and also the overall tonal-centre of F-per -bemolle . Table 5.11 orders the 5/3 triads from Appendix 8 in relation to their chordal scale-degrees from the overall

94 tonal-centre of F-per -bemolle . All diatonic 5/3 triads occur in Dolce spirto d’amore . These are F-M3, G-m3, A-m3, B-flat-M3, C-M3, D-m3, E-m3- b5. The triadic sonority built on scale-degree 7, E-m3- b5, is particularly noteworthy as it has not occurred in the two previous madrigals analysed, Quanto ha di dolce amore , and In più leggiadro velo . It involves a flattened fifth, which occurs diatonically with the tritone between scale-degrees 4 and 7 in F- per -bemolle . This sonority occurs only once in the madrigal in bar 7 and only for the brief duration of a quaver beat. It functions as a passing sonority, which occurs as a result of consecutive thirds in the Quintus and Altus ascending from D and F, through E and G, and on to F and A, whilst the Cantus sustains the note B-flat above. Five non-diatonic triads occur in

Dolce spirto d’amore and these are G-M3, A-M3, C-m3, D-M3 and E-flat-M3. All of these non-diatonic triads make use of the raised-third except for C-m3, and they most often function as the penultimate or final sonorities of cadences. When they do not occur in these positions they do not have the level of polyphonic or textual segmentation required to be considered structural.

Table 5.11: Ordered chordal scale degrees and their corresponding triadic sonorities in Dolce spirto d’amore in relation to the overall tonal centre F-per -bemolle

1 2 3 3# 4 b 5 6 6# b 7 Chordal Scale 2♮ 5 7 Degrees in F- per -bemolle

Corresponding F-M3 G-m3 G-M3 A-m3 A-M3 B- C-m3 C-M3 D- D- E- E-m3- b5 Triadic flat- m3 M3 flat- Sonorities M3 M3

5.2.4 Structural Triadic Sonorities in Dolce spirto d’amore

Like the previous madrigals, Quanto ha di dolce amore and In più leggiadro velo , the most structural triadic sonorities in Dolce spirto d’amore occur at cadences as well as incipit

95 sonorities of particular polyphonic phrases. Structural incipit sonorities occur in Polyphonic

Phrase A, A’, and E and involve the full five-voice texture in each sonority. Appendix 9 presents the structural triadic sonorities with the chordal-scale degrees below the Bassus or lowest sounding voice. The overall tonal-centre is F-per -bemolle in Dolce spirto d’amore and the chordal scale-degrees are analysed in Appendix 9 in relation to this. Table 5.12 below presents only the points of greatest harmonic structural significance in Dolce spirto d’amore and like my analysis of the previous two madrigals, these are the final sonorities of cadences and the specific structural incipit sonorities that take place in Polyphonic Phrase A, A’, and E.

The most structurally significant triadic sonorities are grouped in polyphonic sections and these correspond with the polyphonic sections outlined in Table 5.8.

Table 5.12: The most structurally significant triadic sonorities in Dolce spirto d’amore organised in polyphonic sections

Polyphonic Section One

Polyphonic Phrase Chordal Scale-Degrees Triadic Sonorities A 1, 3 F-M3, A-m3 B 6 D-m3 B’ 45 B-flat-P5 A’ 4, 6 B-flat-M3, D-m3 B’’ 6# D-M3 C 5 C-M3

Polyphonic Section Two

Polyphonic Phrase Chordal Scale-Degrees Triadic Sonorities E 2, 4 G-m3, B-flat-M3 F 1 F-M3 F’ 6 D-m3 G 1 F-M3 G’ 2♮ G-M3 F’’ 1 F-M3 F’’’ 6 D-m3 G’’ 1 F-M3 G’’’ 2♮ G-M3 G’’’’ 1 F-M3

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5.3 Analysis of Io tacerὸ, ma nel silenzio mio

5.3.1 Formal Units in Io tacerὸ, ma nel silenzio mio

Gesualdo makes use of an anonymous text in Io tacerὸ, ma nel silenzio mio , and it is much shorter than the texts of the previous three madrigals analysed, with five rather than seven lines of text. This is representative of Gesualdo’s fourth book of madrigals which contains many more texts consisting of five or less lines than in the previous three books.

Table 5.13: Textual organisation and use of sinalefe in Io tacerὸ, ma nel silenzio mio

Original Line of Text Number of Syllables Line of Text as it Appears with Sinalefe

A: Io tacerὸ, ma nel silenzio mio (12 reduced to 11 syllables) Io ta-ce-rὸ, ma nel si-len-zio mi-o

B: le lagrime e i sospiri (9 reduced to 7 syllables) Le la-gri-me’i sos-pir-i

C: diranno i miei martiri. (8 reduced to 7 syllables) Di-ran-no’i miei mar-ti-ri.

D: Ma se averrà ch’io mora (9 reduced to 7 syllables) Ma s’a-ver-rà ch’o mo-ra

E: griderà poi per me la morte ancora. (12 reduced to 11 syllables) Gri-de-rà poi per me la mor-t’an-co-ra.

Table 5.14 below illustrates the formal units in Io tacerὸ, ma nel silenzio mio . There are two polyphonic sections, the first of which contains the first three lines of text, A, B, and C and their repeated and double periods. The second polyphonic section contains the last two lines

D and E and their repeated and double periods. There are three repeated periods in this madrigal, involving lines C and E, and two double periods with lines A, B, and C combining for the first, and lines D and E for the second. There are nine polyphonic phrases and six of these involve a single line of text, or a line with its immediate repetitions. Two of these polyphonic phrases, the second and fourth, involve the combination of lines B and C, and its repetition, into a single polyphonic phrase. The ninth and final polyphonic phrase of the composition involves the fragmentation of line E, griderà poi per me la morte ancora , to the shorter la morte ancora .

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Table 5.14: Diagram of Textual and Polyphonic Segmentation in Io tacerὸ, ma nel silenzio mio

Io tacerὸ, ma nel silenzio mio

Polyphonic Section 1 Polyphonic Section 2

Double Period Double Period

P P P P P P P P P

A, B, (C, C) A, B, (C, C) D, E, D, (E, E)

Repeated Periods Repeated Period

5.3.2 A Cadential Analysis of Io tacerὸ, ma nel silenzio

Table 5.15 lists each of the cadences in Dolce spirto d’amore . C is not included in the lettering as both textual lines B and C are included together in Polyphonic Phrase B. This is because no cadence is formed at the end of line B and instead it occurs after the repetition of line C. Polyphonic Phrase A and A’ both contain two cadences in the one phrase and this is because the textual line is segmented into two clear phrases, each of which conclude with a cadence. The first of these consists of the first two words of textual line A, Io tacerὸ, and the second, the remaining text from the line, ma nel silenzio mio . The fragmentation of textual lines and the punctuation of these fragments with cadences is more common in Books IV-VI of Gesualdo’s madrigals than in I-III and is demonstrated in particular in this madrigal from

Book IV.

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Table 5.15 Cadential structures in Io tacerὸ, ma nel silenzio

Polyphonic Phrase Poetic Text Bar Numbers from Cadence Type Appendix 10 that contain the Melodic Scale-Degree Motion A Io tacerὸ, ma nel silenzio mio Bar 2, Bar 3 Phrygian, Interrupted Semiperfect B Le lagrime e i sospiri No Cadence Diranno i miei martiri. No Cadence Diranno i miei martiri. Bar 9 Semiperfect A’ Io tacerὸ, ma nel silenzio mio Bar 10, Bar 12-13 Semiperfect, Evaporated Imperfect B’ Le lagrime e i sospiri Bar 4-5 No Cadence Diranno i miei martiri. No Cadence Diranno i miei martiri. Synechdochic D Ma se averrà ch’io mora Bar 21 Authentic E Griderà poi per me la morte ancora. Bar 24 Authentic D’ Ma se averrà ch’io mora Bar 26 Authentic

E’ Griderà poi per me la morte ancora. Bar 30 Authentic E’’ la morte ancora. Bar 31-32 Authentic

Polyphonic Phrase A: The first of the two cadences in this polyphonic phrase is a Phrygian cadence. The second cadence is an interrupted Semiperfect cadence and neither the Altus nor

Quintus voices resolve as expected. The Altus ascends by perfect fifth to G, forming a sixth above the Bassus in the final harmony, rather than its expected resolution of descent by tone to the octave above the Bassus, B-flat. This cadence is the first example in the madrigals analysed so far that includes a final harmony which is not a 5/3 but a 6/3.

Polyphonic Phrase B: Here the cadence takes place after the repetition of line C and it is a

Semiperfect cadence. The clausula formales is particularly noteworthy as it begins one semibreve beat before the clausula basizans . Rather than form a 7-6 suspension above A in

99 the Bassus, the seventh instead forms a fifth above C, which occurs in the Bassus as it pronounces the syllables miei and mar . The remaining voices at the cadence are also noteworthy. The Cantus descends a perfect fifth from the octave above the penultimate sonority, A, to the fifth of the final sonority, D. Before this, however, the Cantus sings the octave C above the Bassus on the syllable mar and descends by minor third to A on the syllable ti , both from the word martiri . This descent by minor third is echoed in the Altus and the Bassus. What is most interesting in the Cantus is that this minor third, combined with the descent by perfect fifth, results in an overall descent by minor seventh. The Altus moves in consecutive thirds with the Bassus on the syllables marti , however, the final syllable, ri , is not pronounced with the remaining voices at the cadence but instead is delayed by one minim beat, forming a 4-3 suspension, or C-B-natural against G in the Bassus.

Polyphonic Phrase A’: There are two cadences that take place in this polyphonic phrase.

The first of these is a Semiperfect cadence which resembles a Phrygian cadence with the clausula cantizans and clausula tenorizans reversed. By this I refer to the descending semitone from E-flat to D, which normally occurs in the lowest sounding voice in a Phrygian cadence, and the ascending tone which most often occurs in the highest sounding voice. In this Semiperfect cadence, however, the clausula cantizans occurs in the Bassus and the clausula tenorizans in the Cantus. The Quintus descends in parallel sixths with the Cantus to form the major third, F-sharp, above D in the Bassus in the final harmony of the cadence.

The second cadence in Polyphonic Phrase A’ is an Imperfect cadence. The final harmony of a

B-flat-M3 sonority is unexpected and the clausula formales in the Quintus, from 7-6 above the Bassus, or D to C implies a Phrygian resolution to D-M3 or D-m3. The Altus ascends from G, the third above the penultimate sonority, to B-flat, the sixth above the final harmony.

The Bassus also descends by perfect fourth, rather than the expected semitone, and a B-flat-

M3 sonority is formed. This cadence is also an example of an evaporated cadence as the

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Tenor drops out during the penultimate harmony. This is due to the staggered entry of voices as the Tenor pronounces the final syllable of the textual line one minim beat before the remaining voices in the following bar 13. The cadence is also interrupted by the introduction of text from Polyphonic Phrase B’ in the Altus and Tenor whilst the Cantus, Quintus and

Bassus sustain their notes.

Polyphonic Phrase B’: An unusual synechdochic noncadential close occurs in this polyphonic phrase. The Bassus pronounces the second last syllable of the textual line three minim beats before the remaining voices and sustains the final syllable underneath the progressions of the remaining voices. The cadential gesture which occurs in this synechdochic close is the descent in the Cantus and Quintus from the sixth and fourth, D and

B-flat, above F in the Bassus, to the fifth and major third, C and A. The last syllable, ri , is pronounced in the Cantus on the note C one minim beat before the Quintus and Altus. This results in a 2-3 suspension between the Cantus and Quintus.

Polyphonic Phrase D: An Authentic cadence occurs in this polyphonic phrase. The introduced semitone in the Cantus, G-sharp, results in direct chromaticism with the preceding

G-natural. There is also a chromatic relationship between the triads of C-M3, formed as the sonority leading to the penultimate of the cadence, and E-M3, the penultimate sonority. This also occurs earlier in the polyphonic phrase with the triads B-flat-M3 and D-M3 on the syllables se’a and –ver . These relationships are particularly striking due to the homophonic texture of this phrase. They are discussed in more detail below in 5.3.3, with the taxonomy of all cadential and non-cadential triadic sonorities.

Polyphonic Phrase E: Another Authentic cadence occurs here It is interesting to note that the Tenor pronounces the final syllable of the textual line one semibreve earlier than the remaining voices at the cadence and sustains the fifth, F, from the penultimate to the final

101 sonority. When the Tenor pronounces the previous syllable, co , from ancora in Bar 23, another clausula formales style melodic progression occurs, 8-7-8, or F-E-F. This leads to the penultimate sonority of the following cadence in bar 24.

Polyphonic Phrase D’: A further Authentic cadence occurs here. There is a chromatic relationship between the triad preceding the penultimate sonority, F-M3 and the penultimate sonority itself, A-M3 and like Polyphonic Phrase D, this is particularly striking due to the homophonic texture. The cadence is also interrupted in the Bassus, Tenor and Quintus by the introduction of Polyphonic Phrase E’ whilst the Cantus and Altus sustain their notes.

Polyphonic Phrase E’: Another Authentic cadence occurs in this polyphonic phrase. Whilst the Quintus and Tenor sustain their notes on the final syllable of the textual line, the Cantus,

Altus and Bassus begin the repetition of the line which leads toward the final cadence of the work in Polyphonic Phrase E’’.

Polyphonic Phrase E’’: The final cadence of the composition is also an Authentic cadence.

It is interesting to note that the Tenor also performs a clausula formales like melodic formula on the syllables, mort’an co , from morte ancora , with the notes D, C, D. This melodic formula begins one semibreve before the penultimate sonority of the cadence and the final note D forms the fifth of this penultimate sonority. The Altus then ascends to the major third,

E, above C in the Bassus at the final harmony of the cadence. Also of note is the parallel descending major tenths which occur between the Bassus and Cantus, A-flat and C, to B- natural and G. This chromatic motion towards the penultimate sonority also occurs in the previous Polyphonic Phrase E’, this time between Cantus and Tenor in Bars 29-30.

Table 5.16 lists the harmonic resolutions of each of the cadences in Io tacerὸ, ma nel silenzio , along with the chordal scale-degrees in relation to the overall tonal centre. I have determined

G-per -bemolle as the overall tonal centre as the cadential resolutions are predominantly to

102 scale-degrees 1, 3 and 5, or G-m3, B-flat-M3 and D-M3. Unlike the previous madrigals with the tonal centre of G-per -bemolle , the final cadence of Io tacerὸ, ma nel silenzio resolves on a

C-M3 sonority. This alone, however, does not determine another tonal centre.

Table 5.16: Chordal Scale-Degrees at Cadences in Io tacerὸ, ma nel silenzio

Polyphonic Phrase Harmonic resolution of Chordal scale-degrees Chordal scale-degrees cadences in relation to each of cadences referred to individual cadential overall tonal-centre G- resolution per-bemolle A D-M3, B-flat-M3 47-6-3#3 , 2 7-6-16/4 -6/3 67-6-5#3 , 4 7-6-36/4 -6/3

B G-M3 2#6 -1♮3 2#6 -1♮3

A’ D-M3, B-flat-M3 47-6-3#3 , 2 7-6-16/4 -6/3 67-6-5#3 , 4 7-6-36/4 -6/3 B’ F-M3 25/3 -6/4 -1 b7/5 -6/4 -5/3 15/3 -6/4 -7 b7/5 -6/4 -5/3 #3 #3 D A-M3 5 -1 ♮6♮5/#3 -2♮5/#3

E B-flat-M3 54-3-1 74-3-3 #3 #3 D’ D-M3 5 -1 2♮5/#3 -5#3

E’ G-M3 54-#3 -1♮3 54-#3 -1♮3

E’’ C-M3 54-♮3-1♮3 14-♮3-4♮3

5.3.3 A Taxonomy of all Cadential and Non-Cadential Triadic Sonorities in Io tacerὸ, ma nel silenzio

This taxonomy is presented in Appendix 11 and each of the polyphonic phrases is listed with its corresponding letters, A-E from table 5.16 above. Table 5.17 presents each of the 5/3 sonorities that occur in Appendix 11 ordered into chordal scale-degrees from the overall tonal-centre of G-per -bemolle . Gesualdo makes use of all diatonic 5/3 as well as six non- diatonic 5/3 triads. These non-diatonic triads are G-M3, A-m3, A-M3, C-M3, D-M3 and E-

M3. E-M3 is noteworthy as all notes in the triad are non-diatonic, E, G-sharp and B-natural.

In contrast, the remaining non-diatonic triads only involve the raised third or fifth, either to

103 avoid the tritone between the first and fifth intervals (A-m3 and A-M3) or in order to have the raised third above the lowest voice, (G-M3, C-M3 and D-M3).

Table 5.17: Ordered chordal scale degrees and their corresponding triadic sonorities in Io tacerὸ, ma nel silenzio mio in relation to the overall tonal centre G-per -bemolle

Chordal Scale 1 5 5 3 4 5 # 6 5 7 1♮ ♮ #♮ 4♮ 5 ♮ #♮ Degrees in G- 2 2 6 per -bemolle

Corresponding G- G-M3 A-m3 A-M3 B-flat- C-m3 C-M3 D-m3 D-M3 E- E-M3 F-M3 Triadic m3 M3 flat- Sonorities M3

5.3.4 The Most Structural Triadic Sonorities in Io tacerὸ, ma nel silenzio

Like the previous madrigals analysed in this chapter, the most structural triadic sonorities occur in Io tacerὸ, ma nel silenzio at cadences and also at the incipit sonorities of specific polyphonic phrases. Structural triadic sonorities also occur, however, at the incipit of each fragmentation of textual line A and A’. Specifically these sonorities occur with the pronunciation of the syllables, Io and ma . The remaining structural incipit sonorities occur in

Polyphonic Phrase D and D’. Appendix 12 presents the structural triadic sonorities with the chordal-scale degrees below the Bassus or lowest sounding voice, and these are analysed in relation to the overall tonal centre, G-per -bemolle . Table 5.18 below organises the points of greatest harmonic structural significance in Io tacerὸ ma nel silenzio into polyphonic sections. These sections correspond with those outlined in Table 5.14. The points of greatest harmonic structural significance in this madrigal are the final harmonies of cadences, the incipit sonorities of Polyphonic Phrase A, A’, D and D, and the incipit sonorities at the fragmentation of Polyphonic Phrases A and A’, with the syllables Io and ma .

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Table 5.18: The most structurally significant triadic sonorities in Io tacerὸ, ma nel silenzio mio organised in polyphonic sections

Polyphonic Section One

Polyphonic Phrase Chordal Scale-Degrees Triadic Sonorities

A 1, 5 #, 5#, 3 6 G-m3, D-M3, D-M3, B-flat-M3-6

B 1♮ G-M3 A’ 6, 5#, #76, 3 E-flat-M3, D-M3, F-sharp-m3-6, B-flat-M3

B 7 F-M3

Polyphonic Section Two

Polyphonic Phrase Chordal Scale-Degrees Triadic Sonorities D 5 F-M3, A-M3 7, 2 #♮

E 3 B-flat-M3

D’ 3, 5 # B-flat-M3, D-M3

E’ 1♮ G-M3

E’’ 4♮ C-M3

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Chapter 6

Analysis of Madrigals from Books V and VI

6.1 Analysis of Itene, o miei sospiri

6.1.1 Formal Units in Itene, o miei sospiri

Gesualdo makes use of an anonymous text in Itene, o miei sospiri . In his fifth and sixth books of madrigals almost all texts are anonymous. Only four madrigals in Book 5, Dolcissima mia vita (IV), Occhi del mio cor vita (IX) , Deh, coprite il bel sono (XVI), and T’amo, mia vita!

(XXI), involve texts from established authors Guarini and Ridolfo Arlotti. 132 The first three of these texts, however, are noted as rielaborazione or reworked versions by Gesualdo. 133

Itene o miei sospiri is a particularly long text and consists of eight lines. All of these lines, except B and C, involve sinalefe .

Table 5.19: Textual organisation and use of sinalefe in Itene, o miei sospiri

Original Line of Text Number of Syllables Line of Text as it Appears with Sinalefe

A: Itene, o miei sospiri, (8 reduced to 7 syllables) I-ten-e’o, miei sos-pir-i,

B: precipitate’l volo, (7 syllables) Pre-ci-pi-tat-e’l vo-lo,

C: a lei che m’è cagion d’aspri martiri, (11 syllables) A lei che m’è ca-gion d’a-spri mar-ti-ri,

D: ditele, per pietà, del mio gran duolo; (13 reduced to 11 syllables) Di-te-le, per pie-tà, del mio gran duo-lo;

E: c’ormai ella mia sia (8 reduced to 7 syllables) C’or-mai el-la mi’ sia

F: come bella ancor pia, (8 reduced to 7 syllables) Co-me bel-la’n-cor pi-a,

G: che l’amaro mio pianto (8 reduced to 7 syllables) Che l’a-ma-ro mio pian-to

H: cangerὸ, lieto, in amoroso canto. (12 reduced to 11 syllables) Can-ge-rὸ, lie-to’n, a-mo-ro-so can-to.

132 See Howe, Liner notes in Carlo Gesualdo, Madrigali Libro Quinto e Sesto 1611 , perf. Delitiae Musicae, Naxos, 2013. 133 Howe, Liner notes in Carlo Gesualdo, Madrigali Libro Quinto e Sesto 1611 , perf. Delitiae Musicae, Naxos, 2013. 106

The formal units in Itene, o miei sospiri are presented below in Table 5.20. Unlike the previous four madrigals analysed, Itene, o miei sospiri consists of only one polyphonic section. The madrigal is through-composed and only one double period occurs with the last line of text, line H. This double-period takes place due to repeat signs between bars 34 and the final bar, bar 43. 134 There are six repeated periods involving lines B, C, D, F and H, and eleven polyphonic phrases. Six of these polyphonic phrases involve the fragmentation of a textual line. These are Polyphonic Phrase C, C’, D, D’, F and F’. The fragmentation of the textual line and the punctuation of line segments with cadences are much more common in

Books V and VI of Gesualdo’s madrigals than in the previous four books.

Table 5.20: Diagram of Textual and Polyphonic Segmentation in Itene, o miei sospiri

Itene, o miei sospiri

Polyphonic Section 1

P P P P P P P P P P P

A, (B, B, B) (C, C) (D, D) E, (F, F) G, (H, H)

Repeated Periods

134 See Appendix 13 , bars 34-43.

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6.1.2 A Cadential Analysis of Itene, o miei sospiri

Table 5.21 presents the cadences from each polyphonic phrase in Itene, o miei sospiri . The melodic scale-degree motion of each cadence is found in Appendix 13 and the bar numbers correspond with those in the table below.

Table 5.21 Cadential structures in Itene, o miei sospiri

Polyphonic Phrase Poetic Text Bar Numbers from Appendix Cadence Type 13 that contain the Melodic Scale-Degree Motion A Itene, o miei sospiri Bar 2 Authentic B Precipitate’l volo, No Cadence

Precipitate’l volo, No Cadence

Precipitate’l volo, Bar 10 Synechdochic C A lei, Bar 11 Semitone Flip A lei, Bar 12 Semitone Flip che m’è cagion d’aspri Bar 14 Evaporated martiri, Phrygian C’ d’aspri martiri, Bar 10 Evaporated Authentic D Ditele, per pietà Bar 18 Altered Repeated D’ Ditele, per pieta, Bar 20 Altered Repeated del mio gran duolo Bar 22 Altered Semiperfect E C’ormai ella mia sia Bar 23-24 Repeated

F Come bella ancor pia, Bar 29 Altered Phrygian F’ ancor pia, Bar 30 Altered Phrygian G Che l’amaro mio pianto Bar 32 Synechdochic H and H’ Cangerὸ, lieto, in amoroso Bar 43 Authentic canto.

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Polyphonic Phrase A: An Authentic cadence. Of note is the sonority which precedes the penulatimate harmony at the cadence. It involves an example of the first type of Turci-

Escobar’s semitone deflections, the semitone slide, and is discussed in detail in Chapter 2. In this example, the expected descending semitone, from A-flat to G in the Bassus, is instead an ascending semitone to A. The Cantus also ascends by semitone in parallel tenths major tenths with the Bassus, from C to C-sharp. A further ascending semitone then occurs in the Cantus,

C-sharp to D, between the penultimate and final harmonies at the cadence. An unusual diminished fourth occurs in the Altus with A-flat to E, between the penultimate sonority of the cadence and the sonority which precedes it. These enharmonic intervals are more common in Books V and VI of Gesualdo’s madrigals as more chromatic relationships occur between triadic sonorities.

Polyphonic Phrase B: No cadence occurs on either the first pronunciation, or the first repetition of textual line B. On the second repetition of the line there is a synechdochic non- cadential close which involves particularly florid melodic motion in each voice. The only cadential characteristic here is the major-third present above the final harmony. This major third, B-natural, occurs in the Altus voice and involves direct chromaticism from the previous

B-flat two minim beats earlier.

Polyphonic Phrase C: The first two unusual cadence types that take place in this polyphonic phrase involve the technique of the semitone flip. This is discussed in detail in Chapter 2 above. In the first cadence, the expected descending semitone in the Cantus, from E-flat to D, is instead replaced by an ascending semitone, E-flat to E-natural. A further ascending semitone occurs in the Altus with C to C-sharp. Each of the sonorities in the cadence, a C-m3 and an A-M3 has an expected resolution to D-m3 or D-M3. In the penultimate sonority, C- m3, the minor-tenth interval which occurs in the Cantus and Bassus is expected to resolve by contrary motion to an octave. In the final sonority, A-M3, the Bassus is expected to ascend or

109 descend from scale degree 5-1, and the major third, C-sharp, is expected to ascend by semitone to D. This does in fact occur with the opening sonority of the following cadence, however, the rests that occur between the final harmony of the first cadence and the penultimate of the following cadence prevents the perception of resolution between these two harmonies.

The second cadence which occurs in this polyphonic phrase is almost identical to the first but with some slight rhythmic alterations in the Quintus and Tenor voices. This time the cadence occurs between a D-m3 sonority and a B-M3, both with an expected resolution to E-m3 or E-

M3. This resolution does occur between the final harmony, B-M3 and the incipit harmony of the following fragment of the textual line, che m’é cagion d’aspri martiri , however, the perception of resolution between these two harmonies is evaded through the use of rests in all voices.

The third cadence in this polyphonic phrase is an evaporated Phrygian cadence. The clausula tenorizans occurs between C and B-natural in the Altus, however, it is the only voice that completes the cadence, as the remaining Quintus and Cantus both drop out at the final harmony. This cadence is also an example of consonant phrase-overlapping as the following polyphonic phrase C’, begins on the minor third, D, in the Bassus whilst the Altus sustains its note B-natural. Of particular note is the fauxbordon like melodic motion which takes place in bars 13 and precedes the cadence. Rhythmic alteration takes place in the Cantus and Altus with a minim rather than a semibreve on the first beat of bar 13. This results in a string of 6/4 sonorities progressing to 6/3 sonorities that begin from the second beat of bar 13 and continue until the end of the bar. This string of sonorities is only altered in bar 13 in the Quintus with the repetition of the note G, rather than its expected stepwise descent to F.

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Polyphonic Phrase C’: This polyphonic phrase also makes use of the rhythmically altered fauxbordon like melodic motion. This occurs between the Tenor, Cantus and Quintus in bars

15 and 16 and is then altered at the penultimate harmony of the cadence in bar 16. Parallel 7-

6 suspensions also take place between the Bassus and the Tenor in bar 15, and this occurs with the rhythmic alteration that arises with the staggered entry of both voices. The cadence that occurs in this polyphonic phrase is an evaporated Authentic cadence and no clausula cantizans or clausula formales occurs. Instead there is a clausula tenorizans in the Tenor, and a perceived clausula basizans in the Bassus through the perfect fourth relationship between the F and B-flat in the Bassus and Tenor respectively. It is evaporated because the Bassus drops out before completing the cadence. The Cantus descends by minor third to the fifth above the final harmony, and the Quintus descends by semitone to the major third. This cadence is particularly unusual as the expected ascending semitone from A to B-flat in the

Cantus is replaced by a descending semitone, A to A-flat. This results in the minor third, rather than the major third with the leading tone above the Bassus at the penultimate sonority.

This A-flat was most likely included in order to avoid a tritone with E-flat in the Quintus.

Polyphonic Phrase D: An altered repeated cadence. Both the penultimate and final harmonies of the cadence are identical in all voices except for the Altus. Through rhythmic alteration the Altus pronounces the syllable, per , one minim beat after the remaining voices.

It also ascends to the fourth above the Bassus resulting in a 4-3 suspension from the penultimate to the final harmony.

Polyphonic Phrase D’: The first cadence in this polyphonic phrase is identical to the previous cadence in Polyphonic Phrase D. It occurs one tone higher, however, with the final harmony resolving to F-sharp-M3, rather than E-M3. This cadential resolution is noteworthy as every note is an introduced chromatic semitone and, therefore, it is very distantly related to the overall tonal centre. The second cadence in this polyphonic phrase is an altered

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Semiperfect cadence. The clausula formales takes place in the Cantus and the clausula tenorizans in the Bassus, however, the remaining voices to do not resolve as expected. Rather than a D-M3 sonority as the final harmony of the cadence, there is a 6/4 sonority on D. The

Quintus does not resolve as expected from the fourth, G, above the Bassus to the major third,

F-sharp, but instead repeats its note. The Altus descends by perfect fourth to B-natural, the sixth above the Bassus, and the Tenor leaps from the fourth to the octave, D. The expected resolution of D-M3 does occur with the incipit sonority of the following polyphonic phrase; however, the perception of resolution between this harmony and the final harmony of the preceding polyphonic phrase is avoided through the use of rests.

Polyphonic Phrase E: A repeated cadence.

Polyphonic Phrase F: The unusual cadence type that occurs in this polyphonic phrase can be described as an altered Phrygian cadence. It is particularly unusual as both the clausula tenorizans and clausula cantizans occur in reversed positions, with the descending semitone in the highest rather than the lowest sounding voice, and an ascending tone in the lowest sounding voice. In this cadence, the descending semitone occurs in the Quintus with G-flat descending to F. The ascending tone occurs in the Bassus from E-flat to F. The Altus descends by minor third from E-flat to the fifth, C, above the final harmony. The Tenor also descends by minor third to the major third, A, above the final harmony. The penultimate sonority is noteworthy in this cadence as it is almost identical to the previous harmony, an E- flat 6/3 sonority. The only difference is that the Quintus has been lowered by semitone from

G to G-flat. This results in a tritone interval between the Tenor and Quintus at the penultimate harmony of the cadence as well as a diminished triad between the Tenor, Altus and Quintus voices.

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Polyphonic Phrase F’: The cadence in this polyphonic phrase is identical to the previous cadence in Polyphonic Phrase F except that it occurs one tone higher, with the final harmony resolving to a G-M3 rather than an F-M3 sonority.

Polyphonic Phrase G: A synechdochic close. The key cadential characteristic involves the progression from a 6/4 to a 5/3 sonority above the sustained note G in the Bassus. A descent from the fourth to the major third above the final harmony, C to B-natural, occurs in the

Cantus, and a descent from the sixth to the fifth, E-flat to D, takes place in the Altus.

Polyphonic Phrase H and H’: The final cadence of this composition is an Authentic cadence. Like the synechdochic close in Polyphonic Phrase B, this cadence is particularly florid with extended melodic lines on the penultimate syllable of the textual line, can from canto , in all voices. This is a good example of the musical expression of the text, as canto

(singing) is well described by florid melodic material.

Table 5.22 lists the harmonic resolutions of cadences in each of the polyphonic phrases of

Itene, o miei sospiri . It also lists the chordal scale-degrees in relation to the harmonic resolution of each individual cadence as well as the overall tonal centre of G-per -bemolle .

This madrigal contains the most numerous occurrences of non-diatonic triadic sonorities, many of which are constructed upon chromatic semitones in the lowest voice. Despite this, cadential resolutions to scale-degrees 1, 3 and 5 in relation to G-per-bemolle, are still common in this madrigal. As well as this, the key-signature of B-flat and the resolution of the final cadence to a triadic sonority on G further verify G-per -bemolle as the overall tonal centre.

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Table 5.22: Chordal Scale-Degrees at Cadences in Itene, o miei sospiri

Polyphonic Phrase Harmonic resolution of Chordal scale-degrees in Chordal scale-degrees of cadences relation to each cadences referred to overall individual cadential tonal-centre G-per-bemolle resolution # # 5 A D-M3 5 -1 2#♮ -5# B G-M3 1b -1 1-1♮ 5 C A-M3, B-M3, B-no-3-or-5 15/ b3-6/ ♮3-6#, 25/ 3-6/#3 -7##5 , 45/ b3-6/ ♮3-2#♮ , 55/ 3-6/#3 -♮3##5 , 6/4-5/3 2 -1 6/4-5/ ♮3 4 -♮3 C’ B-flat-M3 56/4 -5/3 -7/ b 3-14-3 76/4 -5/3 -7/ b 3-34-3 D E-M3 1♮5/4 -1♮5/#3 ♮6♮5/4 -♮6♮5/#3 6/4 #5/4 #5/#3 7-#6 6/4 D’ F-sharp-M3, D 3 -1 , 2 -1 #7#5/4 -#7#5/#3 , ♮67-#6 -5♮6/4 E F-M3 1-1 7-7 F F-M3 76/ b 3-1 66/ b 3-7 6/ b 3 F’ G-M3 7 -1 76/ b 3-1♮ b 6/4 5/3 G G-M3 1 -1 1 b 6/4 -15/ ♮3 H and H’ G-M3 5#-1♮ 5#-1♮

6.1.3 A Taxonomy of all Cadential and Non-Cadential Triadic Sonorities in Itene, o miei sospiri

The taxonomy is set out in Appendix 14 in the same manner as the preceding taxonomical analyses for Quanto ha di dolce amore , In più leggiadro velo , Dolce spirto d’amore , and Io tacerὸ, ma nel silenzio mio . Table 5.17 presents each of the 5/3 sonorities that occur in

Appendix 14 ordered into chordal scale-degrees from the overall tonal-centre of G-per - bemolle . Due to the amount of 5/3 sonorities that occur in Itene , o miei sospiri , I have split them into two tables, the first from 1-4♮ and the second from 5 to #7##5 . Whilst Gesualdo makes use of all diatonic triads he also includes many more non-diatonic triads than appear in the previous madrigals analysed. Nine non-diatonic triads occur in Itene , o miei sospiri , and of these, five are constructed upon non-diatonic notes in the lowest sounding voice. These are

B-m3, B-M3, E-m3, E-M3 and F-sharp-M3. B-M3, E-M3 and F-sharp-M3 are particularly noteworthy as they consist of all non-diatonic notes and so are very distantly related to the

114 overall tonal centre, G-per -bemolle. As such they are a prime example of the chromaticism which is present in the Gesualdo’s fifth and sixth books of madrigals. B-M3, E-M3 and F- sharp-M3 all function as final harmonies at cadences and this further conceals the overall tonal centre of G-per -bemolle . Of the remaining non-diatonic triads, G-M3, A-M3 also function as the final harmonies of cadences, whilst B-m3 and E-m3 function as non-cadential triadic sonorities.

Table 5.23: Ordered chordal scale degrees and their corresponding triadic sonorities in Itene, o miei sospiri in relation to the overall tonal centre G-per -bemolle

Chordal Scale Degrees 1 5 5 3 #5 #5 4 1♮ ♮ #♮ ♮3 ♮3# 4♮ in G-per -bemolle 2 2

Corresponding Triadic G-m3 G-M3 A-m3 A-M3 B-flat- B-m3 B-M3 C-m3 C- Sonorities M3 M3

Chordal Scale 5 # 6 5 5 7 # ##5 5 ♮ ♮ ♮ #♮ 7 Degrees 6 6 Continued Corresponding D-m3 D-M3 E-flat-M3 E-m3 E-M3 F-M3 F-sharp-M3 Triadic Sonorities

6.1.4 The Most Structural Triadic Sonorities in Itene, o miei sospiri

The most structural triadic sonorities in Itene , o miei sospiri occur at cadences as well as the incipit sonorities of specific polyphonic phrases and at the fragmentation of textual lines, C and D’. In line C, the fragmentation occurs between the first two words of the textual line, A lei and its repetition, and the remaining text, che m’é cagion d’aspri martiri . In line D’ fragmentation occurs between the first third words, ditele, per pieta , and the remaining text, del mio gran duolo . The incipit sonorities at the fragmentation of textual lines C and D’ are considered structural because there is significant polyphonic and textual segmentation which

115 takes place. Each of these incipit sonorities are preceded by rests and each involve simultaneity of text setting in all voices that form the sonority. Appendix 15 presents the structural triadic sonorities with the chordal-scale degrees below the Bassus or lowest sounding voice, and these are analysed in relation to the overall tonal centre, G-per -bemolle .

The final harmony of Polyphonic Phrase C is not included as it is not a triad but only one note, B-natural.

Table 5.24 presents the points of greatest harmonic structural significance in Itene , o miei sospiri and groups them into the polyphonic section. Unlike the previous madrigals, only one polyphonic section occurs in Itene , o miei sospiri . The points of greatest harmonic structural significance presented in this table below are the final harmonies of cadences, the incipit sonorities of Polyphonic Phrase A, C, D, D’, E, F’, H and H’, and the incipit sonorities of the fragmentation of the textual line in Polyphonic Phrase C and D’. These occur on the syllables, a and che , in Polyphonic Phrase C, and di and del , in Polyphonic Phrase D’.

Table 5.24: The most structurally significant triadic sonorities in Itene, o miei sospiri organised in its polyphonic section

Polyphonic Section One

Polyphonic Phrase Chordal Scale-Degrees Triadic Sonorities

A 3, 5 # B-flat-M3, D-M3 B 1♮ G-M3

C #5 5 C-m3, A-M3, D-m3, B-M3, E-m3 4, 2#, 5, ♮3# , ♮6♮ C’ 3 B-flat-M3 D 5 G-m3, E-M3 1, ♮6#♮

D’ #5 ♮6/3 ♮6/4 ♮6/3 2, #7# , #7 , 5 A-m3, F-sharp-M3, F-sharp , D♮6/4 E 5#, 7 D-M3, F-M3 F 7 F-M3 6 F’ 76, 1 ♮ F-M3 , G-M3 G 1♮ G-M3

116

H, H’ 6, 1 ♮ E-flat-M3, G-M3

6.2 Analysis of Moro, lasso, al mio duolo

6.2.1 Formal Units in Moro, lasso, al mio duolo

Gesualdo makes use of an anonymous text in Moro, lasso, al mio duolo . Book VI consists almost entirely of anonymous texts except for, Ardita zanzaretta (XIII), and Tu segui, o bella

Clori (XX), which are written by Illuminato Perazzoli. 135 Like Io tacerὸ, ma nel silenzio mio , a short text is used for Moro, lasso which consists of five lines. Three of these lines, A, C, and D involve sinalefe in Gesualdo’s setting.

Table 5.25: Textual organisation and use of sinalefe in Moro, lasso, al mio duolo

Original Line of Text Number of Syllables Line of Text as it Appears with Sinalefe

A: Moro, lasso, al mio duolo: (8 reduced to 7 syllables) Mo-ro, las-so’l, mio duo-lo

B: e chi mi puὸ dar vita? (7 syllables) E chi mi puὸ dar vi-ta?

C: Ahi, che m’ancide e non vuol darmi aita. (12 reduced to 11 syllables) Ahi, che m’an-ci-de e non vuol dar-m’ai-ta.

D: O dolorosa sorte, (8 reduced to 7 syllables) O dolorosa sorte,

E: chi dar vita mi puὸ, ahi, mi dà morte. (11 syllables) Chi dar vi-ta mi puὸ, ahi, mi dà mor-te.

Table 5.26 below presents the formal units in Moro, lasso, al mio duolo . There are two polyphonic sections in this madrigal, the first of which involves lines A, B, and C. This polyphonic section also includes a double period where the first three lines of text, A, B and

C, are repeated as a group after the first repetition of line C. Repeated periods also occur in this section between lines B and C. The second polyphonic section consists of the remaining two lines of text, D and E along with their repeated periods. A double period occurs with line

135 See Howe, Liner notes in Carlo Gesualdo, Madrigali Libro Quinto e Sesto 1611 , perf. Delitiae Musicae, Naxos, 2013. 117

E through the use of the repeat sign between bars 34, and the final bar, 42. 136 Fourteen polyphonic phrases occur in this madrigal and each of these involves a single line of text, or a line with its repetition.

Table 5.26: Diagram of Textual and Polyphonic Segmentation in Moro, lasso, al mio duolo

Moro, lasso, al mio duolo

Polyphonic Section 1 Polyphonic Section 2

Double Period Double Period

P P P P P P P P P P P P P P

A, (B, B) (C, C) A, (B, B) (C, C) (D, D) (E, E, E, E) (E, E, E, E)

Repeated Periods Repeated Periods

6.2.2 A Cadential Analysis of Moro, lasso, al mio duolo

Table 5.27 presents each of the cadences in Moro, lasso, al mio duolo . There is a particular prevalence of altered repeated cadences in this madrigal, as well as many evaded cadence types such as interrupted Authentic and Phrygian cadences, evaporated cadences, and non- cadential synechdochic closes. Chromaticism is also used extensively with direct chromaticism occurring at cadences in Polyphonic Phrase D and D’, and false relation at cadences in Polyphonic Phrase C and C’’.

136 See Appendix 16 , bars 34-42. 118

Table 5.27 Cadential structures in Moro, lasso, al mio duolo

Polyphonic Phrase Poetic Text Bar Numbers from Appendix Cadence Type 16 that contain the Melodic Scale-Degree Motion A Moro, lasso, al mio duolo: Bar 3 Interrupted Authentic B e chi mi puὸ dar vita? No Cadence e chi mi puὸ dar vita? Bar 9-10 Evaporated C Ahi, che m’ancide e non Bar 12, Bar 13 Synechdochic, vuol darmi aita. Altered Repeated C’ e non vuol darmi aita. Bar 15 Altered Repeated A’ Moro, lasso, al mio duolo Bar 18 Interrupted Authentic B’ e chi mi puὸ dar vita? No Cadence e chi mi puὸ dar vita? Bar 24 Altered Repeated C’’ Ahi, che m’ancide e non Bar 26, Bar 27 Synechdochic, vuol darmi aita. Altered Repeated C’’’ e non vuol darmi aita. Bar 29 Altered Repeated D O dolorosa sorte, Bar 31 Phrygian

D’ O dolorosa sorte, Bar 33 Phrygian

E and E’ chi dar vita mi puὸ, Bar 33 Interrupted Phrygian ahi, mi dà morte. No Cadence ahi, mi dà morte. No Cadence ahi, mi dà morte. Bar 42 Authentic

Polyphonic Phrase A: An interrupted Authentic cadence. The Altus descends in parallel thirds with the Tenor and progresses from scale-degrees 4-3, or D-C above the Bassus. It is particularly noteworthy as it results in the seventh above the penultimate harmony. The interruption occurs in the Cantus with consonant phrase-overlapping. The first word of

Polyphonic Phrase B, e, is pronounced whilst the remaining voices sustain their notes from the penultimate sonority. The following word, chi , is pronounced on E, the fifth above the

Bassus, whilst the remaining voices complete the cadence. There is also an interruption in the

119

Quintus, as it pronounces the text from Polyphonic Phrase B immediately after completing the cadence. This occurs whilst the Altus, Tenor and Bassus sustain their notes from the final harmony.

Polyphonic Phrase B: An evaporated cadence where all voices except for the Tenor drop out before the final harmony. Whilst the clausula tenorizans is perceived as having occurred between the penultimate and final harmonies, the Altus which contains this expected resolution also drops out and instead there is a descent by perfect fifth in the Tenor to the C in the final harmony. I have analysed this sonority as a C-m3, because the minor-third interval occurs in the Altus whilst the Tenor sustains its note C. It is an example of consonant phrase- overlapping after a significantly evaded cadence.

Polyphonic Phrase C: This polyphonic phrase contains two cadences and the first of these takes place on the syllables, ci-de , of the word ancide . The polyphonic segmentation is notable at this cadence as it is followed by rests in all voices. It is significantly evaded as textual simultaneity only occurs in three of the five voices. The Altus and Bassus pronounce the penultimate syllable, ci , one semibreve before the Cantus, Quintus and Tenor. As a result of this, a note, C-sharp, is sustained in the Bassus whilst the Cantus, Quintus and Tenor complete the cadence. As there is no clausula basizans that occurs whilst these three voices complete the cadence, I have instead referred to this as a synechdochic close, with the cadential characteristics being the descent in the Tenor from the sixth to the raised-fifth, A –

G-sharp, as well as the major third, E-sharp, present above the Bassus in the final harmony.

False-relation occurs in this cadence between the E in the penultimate sonority in the Cantus and Altus and the E-sharp in the final harmony in the Quintus. E-sharp represents an extreme use of chromaticism by Gesualdo. It has, however, a standard function as the major third above the final harmony. It is interesting to note that between bar 38-39, the Bassus ascends by augmented third, C-sharp – F, rather than a major third, C-sharp – E-sharp. The

120 enharmonic equivalent of E-sharp, F is used and this is likely to avoid having the note E- sharp in the Bassus, as well as avoiding the dissonant intervals between the A, F and E in the

Tenor, Altus and Cantus.

The second cadence which occurs in this polyphonic phrase is an altered repeated cadence.

The Bassus, Tenor and Altus repeat the same notes, D, A, and D respectively, from the penultimate to the final harmony at the cadence. The Cantus and Quintus, however, pronounce the penultimate syllable, one minim beat before the remaining voices. These two voices sustain their notes, G and D respectively, whilst the penultimate harmony is sung in the Bassus, Tenor and Altus. The Cantus and Quintus then descend to the fifth, A, and major third, F-sharp at the final harmony of the cadence.

Polyphonic Phrase C’: This cadence is identical to the previous and is another altered repeated cadence.

Polyphonic Phrase A’: Like Polyphonic Phrase A, an interrupted Authentic cadence occurs here. The interruption occurs in the Bassus as it pronounces the first word, e, of the following

Polyphonic Phrase B’ whilst the remaining voices complete the cadence. Further interruptions occur in the Altus and Tenor voices, who begin the text from Polyphonic Phrase

B’ whilst the Cantus and Quintus sustain their notes from the previous cadence. Like

Polyphonic Phrase A, one of the voices descends from scale degree 4-3 at the cadence. This time it is the Quintus with G – F-sharp and this results in the seventh above the penultimate harmony.

Polyphonic Phrase B’: An altered repeated cadence. It is particularly florid and textual simultaneity does not occur on the penultimate syllable in any more than two voices at a time.

The first two voices, the Bassus and Altus pronounce the syllable, vi , of vita , at the beginning of bar 24 and the Cantus and Quintus follow two crotchet beats later. The Tenor then

121 pronounces the syllable on the final crotchet beat of this bar. I have analysed the penultimate sonority to occur at the beginning of bar 25 as the Cantus, Quintus and Altus form an F- triadic sonority above the sustained F octave between the Bassus and Tenor. There is significantly more polyphonic segmentation in this homophonic passage then in the preceding bar, and the sonority that occurs here progresses directly to the final harmony of the cadence two minim beats later. I have analysed it as an altered repeated cadence as only the Cantus, Quintus and Bassus repeat their notes between the penultimate and final harmonies. The Altus instead sustains its note, F, and this is because it is pronouncing the final syllable of the textual line. The Tenor performs a florid melodic line, whilst the remaining voices sing the penultimate harmony of the cadence. This melodic line could have occurred in unison with the Cantus if the first syllable, dar , had begun one crotchet beat earlier in bar 24. There is direct chromaticism between the final note of the Tenor, C, and the first note of the preceding Polyphonic Phrase C’’, D-flat in the Altus. The effect of this is weakened, however, through the use of minim rests between the two notes.

Polyphonic Phrase C’’: The two cadences that occur in this polyphonic phrase are the same as those in the previous Polyphonic Phrase C; a synechdochic close and an altered repeated cadence. They take place above different notes in the Bassus, however, with the first occurring above a sustained B in the Bassus rather than C-sharp, and the second above C, rather than D. The cadential characteristics in the synechdochic close involve the descent from scale degrees 6-5, or G – F-sharp, as well as the major third, D-sharp, present above the final harmony. The altered repeated cadence involves repetition in all voices except the Tenor between the penultimate and final harmonies of the cadence. The Tenor instead performs a 4-

3 suspension from F to the major third E.

Polyphonic Phrase C’’’: This cadence is identical to the previous and is an altered repeated cadence with a 4-3 suspension in the Tenor.

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Polyphonic Phrase D: A Phrygian cadence. The clausula cantizans takes place in the Tenor and the clausula tenorizans occurs in the Bassus. It pronounces the penultimate syllable, sor , two minim beats before the remaining voices, however, and so sustains its note, F, whilst they form the penultimate harmony above it. The Altus descends in parallel major tenths with the Bassus, from A – G-sharp, and provides the major third above the final harmony. The unusual aspect of this cadence occurs in the Quintus with the progression from B-flat to B- natural and involves direct chromaticism. The B-flat is likely used in the penultimate harmony in order to avoid the tritone with F in the Bassus, however, it forms a dissonant minor second with the A in the Altus. This minor second interval progresses by contrary- motion to a minor-third, G-sharp in the Altus and B-natural in the Quintus, in the final harmony.

Polyphonic Phrase D’: Another Phrygian cadence. The clausula tenorizans occurs in the

Tenor and descends from C-B. Like the Bassus in the previous cadence, it pronounces the penultimate syllable one minim beat before the remaining voices and so it sustains its note, C, whilst the other voices form the penultimate harmony above it. The Altus contains direct chromaticism from F – F-sharp, however, unlike the previous cadence in Polyphonic Phrase

D, the dissonant interval is now a major seventh rather than a minor second, and occurs between Tenor and Cantus. This dissonant major seventh resolves by contrary motion to a major sixth, F-sharp and D-sharp at the final harmony.

Polyphonic Phrase E and E’: The cadences in Polyphonic Phrase E and E’ are identical.

This is because Polyphonic Phrase E’ is a direct repetition of Polyphonic Phrase E brought about by the repeat signs between bars 35 and 43. Two cadences occur in these polyphonic phrases and the first is an interrupted Phrygian cadence. The clausula tenorizans occurs in the

Bassus and the clausula cantizans is avoided with a descent to B, the fifth above the final harmony, rather than the expected ascent to E, the octave. An ascent by tone, normally

123 associated with the clausula cantizans at Phrygian cadences does occur, however it is from scale degrees 4-5, or A-B, and takes place in the Quintus. The remaining voices, Tenor and

Cantus, also ascend. The Tenor progresses by perfect fifth from A, the major third above the penultimate sonority, to E, the octave. The Cantus ascends by perfect fourth from the sixth,

D, to the minor third, G, at the final harmony. The interruption at this cadence occurs in the

Cantus and it is an example of dissonant phrase overlapping. It occurs not with a new polyphonic phrase, however, but with the next segment of text, ahi, mi dà morte , from the line chi dar vita mi puὸ, ahi, mi dà morte . Whilst the remaining voices sustain the final harmony from the preceding cadence, the Cantus begins the following segment of text with the word ahi , on a dissonant minor ninth interval above the Bassus, F above E. This dissonant interval is even more striking due to its length, as is it sustained for one semibreve beat. It eventually resolves by semitone to the octave on the third crotchet beat of bar 37. This dissonance is particularly effective in displaying the emotive qualities of the text. The jarring minor ninth interval portrays the text ahi , or alas , as well as the overall theme of this line, chi dar vita mi puὸ, ahi, mi dà morte , which can be translated as “the one who might save me, alas, is bringing about my death.” 137

The final cadence in this composition is an Authentic cadence. Whilst this cadence is conventional in comparison to the first in this polyphonic phrase there are traces of chromaticism which precede it. A dissonant augmented fifth interval occurs between the

Tenor and Quintus with C and G-sharp on the second semibreve beat of bar 42. There is also a dissonant tritone between Quintus and Cantus, A and D-sharp, on the last crotchet beat of this bar.

137 See Howe, Liner notes in Carlo Gesualdo, Madrigali Libro Quinto e Sesto 1611 , perf. Delitiae Musicae, Naxos, 2013. 124

Table 5.28 below presents the harmonic resolutions of all cadences in each of the polyphonic phrases of Moro, lasso, al mio duolo . The chordal scale degrees are also presented in relation to each individual cadential resolution and the overall tonal centre of A-per -bequadro . Moro, lasso, al mio duolo contains more distantly related triadic sonorities than any of the previous madrigals I have so far analysed. Examples of these distantly related triads include the cadential resolutions of Polyphonic Phrases B and C which are C-m3, C-sharp-M3 and D-

M3. This madrigal also contains the equal most examples of cadential and non-cadential triads constructed above chromatic non-diatonic notes in the lowest sounding voice, with the same amount as Itene, o miei sospiri . It was therefore the most difficult of the six madrigals to determine the overall tonal centre. In order to maintain consistency with the analysis of previous madrigals, I have determined the overall tonal centre in Moro, lasso, al mio duolo through the key-signature, the final cadence and the prevalence of cadential resolutions to chordal scale-degrees 1, 3 and 5. The final cadence of the composition resolves to A-M3 and the key signature has no flats or sharps. There are also more cadential resolutions to triadic sonorities on C than there are on C-sharp and therefore I have determined A-per -bequadro as the overall tonal centre. This reading is further confirmed through the first cadential resolution to A-m3.

Table 5.28: Chordal Scale-Degrees at Cadences in Moro, lasso, al mio duolo

Polyphonic Phrase Harmonic resolution of Chordal scale-degrees Chordal scale-degrees cadences in relation to each of cadences referred to individual cadential overall tonal-centre A- resolution per-bequadro A A-m3 5#3 -1 5#3 -1 B C-m3 54-3-1b 74-3-3b

C C-sharp-M3, DM3 #76/3 -#5/#3 , 1 4-1#3 #36/3 -#5/#3 , 4 4-4#3 C’ D-M3 14-1#3 44-4#3 A D-M3 57/#3 -1#3 17/#3 -4#3

125

B F-M3 1-1 6-6 C’’ B-M3, C-M3 76/3 -#5/#3 , 1 4-1 26/3 -#5/#3 , 3 4-3 C’’’ C-M3 14-1 34-3 D E-M3 26/ b 4-1 66/ b 4-5#3 D’ B-M3 26/4 -1 36/4 -2#5/#3 E and E’ E-m3, A-M3 26-1, 5 4-#3 -1#3 66-5, 5 4-#3 -1#3

6.2.3 A Taxonomy of all Cadential and Non-Cadential Triadic Sonorities in Moro, lasso, al mio duolo

This taxonomy is set out in Appendix 17. Table 5.29 below presents each of the 5/3 sonorities that occur in this appendix ordered into chordal scale-degrees from the overall tonal-centre of

A-per -bequadro . I have split these sonorities into two tables, the first from 1-4# and the second from b55/6 to 7. The sonority b55/6 is unusual as it contains both the fifth and the sixth above the lowest sounding voice and this is why I have notated it as 5/6 . Gesualdo makes use of all diatonic triads except for 2, which in A-per -bequadro would involve the notes B, D, and F. In order to avoid the tritone between B and F, Gesualdo instead raises the fifth of the triad to F-sharp. Moro, lasso, al mio duolo contains the most non-diatonic triads of any of the madrigals so far analysed and also the equal most triads built upon chromatic non-diatonic notes in the lowest sounding voice. Twelve non-diatonic triads occur, and of these, five are constructed upon non-diatonic notes in the lowest sounding voice. These are B-flat-M3, C- sharp-m3, C-sharp-M3, E-flat-M3-with-5-and-6, and F-sharp-M3. The B-flat-M3 and E-flat-

M3 sonorities are particularly noteworthy as they are constructed upon scale degrees b2 and b5 in A-per -bequadro and obscure the overall tonal centre significantly.

126

Table 5.29: Ordered chordal scale degrees and their corresponding triadic sonorities in Moro, lasso, al mio duolo in relation to the overall tonal centre A-per -bequadro

#5 #5 #5 #5 Chordal Scale 1 1# b2 2 2# 3b 3 #3 #3# 4 4# Degrees in A- per -bequadro

Corresponding A-m3 A-M3 B-flat- B-m3 B-M3 C-m3 C-M3 C- C- D-m3 D-M3 Triadic M3 sharp- sharp- Sonorities m3 M3

5/ 6 #5 Chordal Scale b5 5 5# 6 #6# 7 b 7 Degrees Continued Corresponding E-flat-M3- E-m3 E-M3 F-M3 F-sharp-M3 G-m3 G-M3 Triadic Sonorities with-5-and-6

6.2.4 The Most Structural Triadic Sonorities in Moro, lasso, al mio duolo

The most structural triadic sonorities in Moro, lasso, al mio duolo occur at cadences, and the incipit sonorities of specific polyphonic phrases. Structural triadic sonorities also occur at the fragmentation of the line of text in Polyphonic Phrase C and C’’. In lines C and C’’ the fragmentation occurs between the first fragment of text, Ahi, che m’ancide , and the remainder of the textual line, e non vuol darmi aita . These incipit sonorities occur with the word, e, at these fragmentations of the line of text. I consider them structural because there is significant polyphonic and textual segmentation which takes place. Each sonority is preceded by rests in all voices and each involves simultaneity of text-setting in five of the six voices. Appendix 18 presents the structural triadic sonorities in Moro, lasso, al mio duolo with the chordal-scale degrees below the Bassus or lowest sounding voice, and these are analysed in relation to the overall tonal centre, A-per -bequadro . The final harmony of Polyphonic Phrase B is not included as it is not a triad but only one note; C. Table 5.30 presents the points of greatest harmonic structural significance in Moro, lasso, al mio duolo and groups them into

127 polyphonic sections. These points include the final harmonies of cadences, the incipit sonorities of Polyphonic Phrase A, A’, C’, C’’’, E, and E’, as well as the incipit sonorities of the fragmentation of the textual line in Polyphonic Phrase C and C’’.

Table 5.30: The most structurally significant triadic sonorities in Moro, lasso, al mio duolo organised in polyphonic sections

Polyphonic Section One

Polyphonic Phrase Chordal Scale-Degrees Triadic Sonorities A #3##5 , 1 C-sharp-M3, A-m3 B 7 G-M3 C #3##5 , 2##5 , 4# C-sharp-M3, B-M3, D-M3 C’ 2##5 , 4# B-M3, D-M3 A’ #6##5 , 4# F-sharp-M3, D-M3 B’ 6 F-M3 C’’ 2##5 , 1#, 3 B-M3, A-M3, C-M3 C’’’ 1#, 3 A-M3, C-M3

Polyphonic Section Two

Polyphonic Phrase Chordal Scale-Degrees Triadic Sonorities D 5# E-M3 D’ 2##5 B-M3 E and E’ 5, 5, 1 # E-m3, Em3, A-M3

128

Conclusion

In the above chapters a comprehensive analysis of each of the six selected madrigals sheds light on Gesualdo’s developing approaches to harmony and harmonic chromaticism, from his earlier to his later books of madrigals. Particularly significant is the relationship between structurally important harmonic sonorities and the overall tonal centre in each madrigal, as this provides a diatonic foundation from which instances of harmonic chromaticism can be identified. I determine the overall tonal centre in each work through the key-signature, the final cadence of the composition, and the predominance of structurally important triadic sonorities, such as cadential resolutions and the incipit sonorities of polyphonic phrases, on diatonic scale degrees 1, 3, and 5.

The tables which present the ordered chordal scale degrees in the overall tonal centre of each madrigal demonstrate an increasing number of non-diatonic triadic sonorities, and sonorities constructed upon chromatic notes in the lowest sounding voice, throughout the selected madrigals from each of Gesualdo’s six books. 138 These sonorities occur more frequently in structurally important positions, such as at cadential resolutions or as the incipit sonorities of polyphonic phrases, in selected examples from the later books of madrigals such as Itene, o miei sospiri (Book V), and Moro, lasso, al mio duolo (Book VI). The increasing use of non- diatonic sonorities in these works, as well as sonorities constructed upon chromatic notes in the lowest sounding voice, somewhat obscures the overall tonal centre due to the extensive amount of chromaticism. This is significant, as obscuring the overall tonal centre in structurally significant positions, such as cadence points, results in the perception of a more fragmented and less cohesive harmonic structure, with many of the cadential resolutions of adjacent polyphonic phrases harmonically distant to each other. Contrastingly, structurally

138 See Tables 4.1, 5.5, 5.11, 5.17, 5.23, and 5.29. 129 important sonorities constructed upon diatonic scale degrees in the overall tonal centre of each madrigal help to provide a sense of harmonic cohesion.

In the examples below, I review particular instances of harmonic chromaticism which occur in the six selected madrigals from Gesualdo’s six books. In particular, I demonstrate the importance of Gesualdo’s harmonisation of direct chromaticism, or ascending and descending semitones in the voice, with triadic sonorities related by major or minor third.

This particular technique of harmonic chromaticism accounts for many of the more extreme cases of chromaticism found across Gesualdo’s six books of madrigals. Whilst the harmonisation of direct chromaticism with triadic sonorities related by major or minor third has been identified through previous analysis in the above chapters, further explanation is provided through the discussion of the examples below.

Ex.7.1 – Ex.7.5 below are comparable in that they do not occur at structurally important positions and so therefore do not directly obscure the overall tonal centre. Each example makes use of direct chromaticism in at least one voice, and involves two 5/3 triadic sonorities a major or minor third apart. In Ex. 7.1, direct chromaticism and false relation occurs together with an E-flat-M3 progressing to a C-M3. Direct chromaticism occurs with E-flat to E-natural in the Cantus, and false relation with E-flat in the Bassus of the E-flat-M3, and E-natural in the Cantus of the C-M3. The direct chromaticism in the Cantus likely occurs in order to substitute an expected descending semitone, E-flat to D, with an ascending semitone E- natural to F. This ascending semitone is harmonised with C-M3 progressing to F-M3. Whilst the E-natural has a conventional harmonic function, as a raised third in a 5/3 sonority, the direct chromaticism and false relation that occurs between it and the previous E-flat-M3 is particularly jarring. This is also largely due to the distant harmonic relationship between the two triads. The descent of a minor third, or its inverse, the ascent of a major sixth, is the only likely melodic progression in the lowest sounding voice in order harmonise the ascending

130 semitone in Ex. 7.1 with two 5/3 sonorities. The other possibilities in the Bassus, being an ascent by semitone or a descent or ascent by tritone, would result in parallel octaves or the use of the tritone as a melodic interval, which was prohibited in conventional counterpoint.

Ex. 7.1 Carlo Gesualdo, “Quanto ha di dolce amore,” Madrigals Book I, bar 8. 139

Ex. 7.2 below exhibits direct chromaticism involving a descending rather than an ascending semitone. In this example, the raised third C-sharp above A in the Bassus, descends to the perfect fifth, C-natural, above F in the Altus. There is a major rather than minor third relationship between the two sonorities, A-M3 and F-M3. Direct chromaticism involving a descending semitone in one voice can be harmonised by two 5/3 triads in more ways than an ascending semitone. Whilst the ascending semitone progression must be coupled with a descent by minor third in the lowest sounding voice in order to avoid parallel octaves or the descending tritone interval, the descending semitone progression can be harmonised with a unison, a descent by major third, or an ascent by minor third in the lowest sounding voice. A unison would result in a shift from a major to a minor 5/3 sonority, such as A-M3 to A-m3.

An ascent by minor third would result in the raised third of the first sonority descending to the octave of the second, such as A-M3 progressing to C-M3 or C-m3. Finally a descent by major third, or its inverse, an ascent by minor sixth, such as occurs below in Ex. 7.2, results in the raised third of the first sonority descending to the perfect fifth of the second sonority.

139 Gesualdo, Quanto ha di dolce amore, Madrigals Book I, 17. 131

The potential jarring aural affect of the two adjacent sonorities A-M3 and F-M3 in Ex. 7.2, is somewhat alleviated through the rests that divide them. The significant polyphonic segmentation between the two sonorities also weakens the perception of parallel octaves which occur between the Cantus and Altus voices on the notes E-F. These octaves could be easily avoided if the Cantus descended by minor third to C, rather than ascending to F. This descent to C, however, would result in a unison between Cantus and Quintus and a somewhat weaker triadic sonority without the octave doubling.

Ex. 7.2 Carlo Gesualdo, “In più leggiadro velo,” Madrigals Book II, bars 17-18. 140

Ex. 7.3 below also involves direct chromaticism with a descending semitone which takes place in the Tenor with the notes B-natural to B-flat. This descending semitone is harmonised with G-M3 progressing to B-flat-M3. As well as direct chromaticism, false relation also occurs in this example between the Tenor and Quintus with the notes, B-natural and B-flat.

Like the previous Ex. 7.2, there is significant polyphonic segmentation between the G-M3 and B-flat-M3 sonorities through the use of rests.

140 Gesualdo, In più leggiadro velo, Madrigals Book II, 28. 132

Ex. 7.3 Carlo Gesualdo, “In più leggiadro velo,” Madrigals Book II, bars 28-29. 141

In Ex. 7.4 below there are two instances of direct chromaticism involving ascending semitones; F – F-sharp, and G – G-sharp. Both are harmonised by two 5/3 sonorities a major third apart. The first involves B-flat-M3 progressing to D-M3, and the second, C-M3 to E-

M3. The second of these progressions, C-M3 to E-M3 occurs at a cadence point, with E-M3 functioning as the penultimate sonority leading to A-M3. The C-M3 precedes the penultimate sonority of the cadence, E-M3. In both instances, a minor third interval between two voices is chromatically altered to become a major third. This occurs first in the Quintus and Altus with

D and F progressing to D and F-sharp, and then in the Quintus and Cantus, with E and G progressing to E and G-sharp. The raised third above the lowest sounding voice at the penultimate sonority of a cadence (or in any harmonic progression where the lowest voice descends by perfect fifth or ascends by perfect fourth) has a tendency to resolve upward by semitone to the octave of the final sonority. This occurs with D-M3 resolving to G-m3, and

E-M3 resolving to A-M3.

141 Gesualdo, In più leggiadro velo, Madrigals Book II, 28-29.

133

Ex. 7.4 Carlo Gesualdo, “Io tacerò, ma nel silenzio mio” Madrigals Book IV, bars 20-21. 142

It is possible that Gesualdo arrived at this particular kind of harmonic progression by altering a particular type of 6/3 sonority that is often found to precede the penultimate sonority at a cadence. An example of this type of sonority is displayed below in Ex. 7.5. Here, the sixth, D, above the Bassus, F, becomes a suspended fourth above the penultimate sonority, A-M3, which then descends to the raised third C-sharp before progressing to the octave D in the final sonority, D-m3. This particular variety of suspension is referred to earlier in this dissertation as a clausula formales and is conventional at an Authentic cadence. Gesualdo alters this convention in Ex. 7.4 by preceding the penultimate sonority with a 5/3 rather than a 6/3. In the case of Ex. 7.5 below, this would result in an F-M3 progressing to an A-M3, rather than the 6/3 sonority above F progressing to A-M3. Direct chromaticism would occur in this instance between C-natural and C-sharp.

142 Gesualdo, Io tacerò, ma nel silenzio mio , Madrigals Book IV, 23. 134

Ex. 7.5 Carlo Gesualdo, “Dolce spirto d’Amore” Madrigals Book III, bar 8. 143

Examples of direct chromaticism and false relation are much more common in the harmonic progressions of Gesualdo’s final two books of madrigals. Almost all of these examples occur with the progression from one 5/3 sonority to another a major or minor third apart. In instances where the progression by major or minor third, or the inverse, minor or major sixth, does not occur in the lowest sounding voice, a major or minor third relationship between the two sonorities can often still be determined. This is because there is often an example of voice-exchange, where the major or minor third of the triad is found in the lowest-sounding voice. This is displayed below in the opening bars of Itene, o miei sospiri , Ex. 7.6. In this example, there is an ascent by semitone from A-flat to A-natural in the lowest sounding voice on the syllables so-spir . There is direct chromaticism between these two notes, and also a false relation between both the Bassus and Altus on A-flat, and the Quintus and Tenor on A- natural. Gesualdo makes use of a 6/3 triadic sonority above A-flat, with F occurring in the

Quintus, and this is most likely in order to avoid the parallel fifths which would occur between B-flat and F, A-flat and E-flat, and A and E, on the syllables, miei , and so-spir respectively. Rather than an A-flat 6/3, the sonority could instead be considered as an F-m3 sonority that has been altered through voice-exchange, resulting in the minor third, A-flat, present in the Bassus rather than the expected note F. A major third relationship can therefore be determined between the two sonorities, F-m3, but with the minor third in the Bassus, and

A-M3. The A-flat likely occurs in the Bassus, rather than F, in order to avoid consecutive octaves with the Quintus, which ascends by major third from F to A. It is particularly unusual that F-m3 rather than F-M3 is employed, but this is likely because Gesualdo wished to ascend by semitone in both the Bassus and the Cantus. The use of A-flat also results in a line of consecutive major thirds between Bassus and Cantus from the syllables miei , to so-spir .

143 Gesualdo, Dolce spirto d’Amore , Madrigals Book III, 31. 135

Ex. 7.6 Carlo Gesualdo, “Itene, o miei sospiri” Madrigals Book V, bars 1-2. 144

In Ex. 7.7, voice-exchange occurs with the 6/3 sonorities on C and B, on the syllables, ro and so . The thirds, C, and B, of an A-m3 and a G-M3 occur in the Bassus rather than the expected notes, A and G. The sonority on ro , can be considered as an A-m3 with the minor third in the lowest-sounding voice, rather than a C 6/3, and there is a major third relationship between it and the previous C-sharp-M3 sonority. There is also a major third relationship between the following sonorities on the syllables las-so , B-M3 and G-M3. Like the previous

Ex. 7.6, voice-exchange likely occurs in this example in order to avoid parallel octaves, which would occur between Bassus and Altus. It also results in consecutive descending major thirds between the Bassus and Quintus in the first three sonorities, C-sharp-M3, C 6/3, and B-

M3. Whilst Ex. 7.6 and 7.7 involve quite extreme chromaticism in their respective polyphonic phrases, each terminates with a cadential resolution to a diatonic scale-degree in the overall tonal centre of each work. In Ex. 7.6, this is to scale-degree 5, or D in G-per - bemolle , and in Ex. 7.7, scale-degree 1, A, in A-per -bequadro . The cadential resolutions to diatonic scale-degrees help to reinforce the overall tonal centre in each of the madrigals.

144 Gesualdo, Itene, o miei sospiri , Madrigals Book V, 19. 136

Ex. 7.7 Carlo Gesualdo, “Moro, lasso, al mio duolo” Madrigals Book VI, bars 1-3. 145

The analyses presented in the above chapters could be expanded through further work to include other aspects of harmonic, melodic and rhythmic material in Gesualdo’s madrigals which are not discussed in detail in this dissertation. These aspects include Gesualdo’s manipulation of motivic cells that accompany a line of text, techniques such as diminution, augmentation, and staggered entry, and how the overlay of motivic cells affects the perception of vertical sonorities, and subsequently, harmony in each polyphonic phrase. Also, consideration could be extended to how Gesualdo repeats melodic and rhythmic material across double periods, often employing transposition, and the harmonic relationships that occur between the first utterance of the textual lines and their later repetition. These additional topics could, however, draw from the analyses presented in this dissertation. In particular, the detailed study of textual, polyphonic and harmonic structure in each of the selected madrigals, and the relationships between harmony and harmonic chromaticism and the overall tonal centre in each work. In effect, ongoing study of Gesualdo’s approaches to harmony in his six books of madrigals would help to deepen our understanding of the development of harmony overall in the late-sixteenth and early-seventeenth centuries, as well as shed further light on the achievements of one of the finest composers active in this period.

145 Gesualdo, Moro, lasso, al mio duolo , Madrigals Book VI, 74. 137

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Appendices Appendix 1: Transcription of Quanto ha di dolce amore with Melodic Scale Degrees and Polyphonic Phrases

1

2

3

4

5

6

Appendix 2: Taxonomy of cadential and non-cadential triadic sonorities in Quanto ha

di dolce amore with their intervallic structure and chordal scale-degrees

7

8

9

10

Appendix 3: The most structural triadic sonorities in Quanto ha di dolce amore

11

12

Appendix 4: Transcription of In più leggiadro velo with Melodic Scale Degrees and Polyphonic Phrases

13

14

15

16

17

18

19

20

Appendix 5: Taxonomy of cadential and non-cadential triadic sonorities in In più

leggiadro velo with their intervallic structure and chordal scale-degrees

21

22

23

24

Appendix 6: The most structural triadic sonorities in In più leggiadro velo

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26

Appendix 7: Transcription of Dolce spirto d’Amore with Melodic Scale Degrees and Polyphonic Phrases

27

28

29

30

31

32

Appendix 8: Taxonomy of cadential and non-cadential triadic sonorities in Dolce spirto

d’Amore with their intervallic structure and chordal scale-degrees

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34

35

36

Appendix 9: The most structural triadic sonorities in Dolce spirto d’Amore

37

38

Appendix 10: Transcription of Io tacerὸ, ma nel silenzio mio with Melodic Scale Degrees and Polyphonic Phrases

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43

Appendix 11: Taxonomy of cadential and non-cadential triadic sonorities in Io tacerὸ,

ma nel silenzio mio with their intervallic structure and chordal scale-degrees

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45

46

Appendix 12 : The most structural triadic sonorities in Io tacerὸ, ma nel silenzio mio

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Appendix 13: Transcription of Itene, o miei sospiri with Melodic Scale Degrees and Polyphonic Phrases

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49

50

51

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53

Appendix 14: Taxonomy of cadential and non-cadential triadic sonorities in Itene, o

miei sospiri with their intervallic structure and chordal scale-degrees

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Appendix 15 : The most structural triadic sonorities in Itene, o miei sospiri

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58

Appendix 16: Transcription of Moro, lasso, al mio duolo

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65

Appendix 17: Taxonomy of cadential and non-cadential triadic sonorities in Moro,

lasso, al mio duolo with their intervallic structure and chordal scale-degrees

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Appendix 18 : The most structural triadic sonorities in Moro, lasso, al mio duolo

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70